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"BUREAU OF AMERICAN. ETHN OLOGY
| BULLETIN 110 an
EE ee MUSIC
BY —
FRANCES DENSMORE
pls
ont st ees
| co a
oe ; dy$ ’ Xe
AUG 17 1932 »
A
Wa TOna,. use’
SMITHSONIAN INSTITUTION
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 110
YUMAN AND YAQUI MUSIC
BY
FRANCES DENSMORE
*
UNITED STATES
GOVERNMENT PRINTING OFFICE
WASHINGTON : 1932
For sale by the Superintendent of Documents, Washington, D, C.
LETTER OF TRANSMITTAL
SMITHSONIAN INSTITUTION,
Bureau or American ETHNOLOGY,
Washington, D. C., May 6, 1930.
Sir: I have the honor to transmit herewith a paper entitled
“Yuman and Yaqui Music,” by Miss Frances Densmore, and to
recommend that it be published as a bulletin of the Bureau of
American Ethnology.
Rspectfully,
M. W. Stiruine, Chief.
Dr. Cuartes G. ABpor,
Secretary of the Smithsonian Institution.
Ill
i oo a
TRAE, |
un
CTE! Ge) TERED a
ria % ce
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a
FOREWORD
The songs of a group of tribes living along the Colorado River and
in northwestern Mexico are here presented, the river culture affording
an interesting contrast to the woodland, plain, high plateau, and
desert cultures previously studied.t. The Yuma and Mohave material
was collected near Fort Yuma, Calif., the Cocopa material near
Somerton in Arizona, a few miles from the Mexican border, and the
study of the Yaqui music was made at Guadalupe village, near
Phoenix, the entire research being made in 1922. A cremation was
witnessed among the Yuma, and important dances were seen among
the Cocopa and Yaqui.
The assistance of interpreters and prominent members of the Indian
tribes is acknowledged with appreciation. The principal interpreter
among the Yuma was Luke Homer, whose cooperation made possible
the obtaining of old songs. During the work among the Cocopa it
was necessary to employ two interpreters, Nelson Rainbow translating
the Cocopa language into Yuma and Luke Homer translating Yuma
into English. Katco’ra, a Yuma who spoke no English, assisted in
the work by visiting the singers who lived at a considerable distance
from Fort Yuma Agency, explaining the work to them, and bringing
them to the writer. A similar service among the Cocopa was per-
formed by Frank Tehanna, who also spoke no English. The Yaqui
interpreter was Loretto Luna, a resident of Guadalupe village.
Four of the principal singers died before the publication of this
material, and their bodies were cremated in the manner which they
had described. The songs which they recorded for this work were
undoubtedly sung on these occasions. These men were Charles
Wilson, Joe Homer, and Peter Hammon (Yuma), and Clam (Cocopa).
1 Chippewa Music, Bull. 45; Chippewa Music, IT, Bull. 53; Teton Sioux Musie, Bull. 61;
Northern Ute Music, Bull. 75; Mandan and Hidatsa Music, Bull. 80; Papago Music, Bull.
90; Pawnee Music, Bull. 93; Menominee Music, Bull. 102, Bur. Amer. Ethn.; and Music
of the Tule Indians of Panama, Smithsonian Mise. Colls., vol. 77, no. 11.
cHonano®
| Bets ay |. ae
Parivetst otrrote9 vidi shrek avi aoc " orrg w lo mb
a wortdluy mvs odd bahamas ovat SS |
ig daabalcy dyidl ,ininiq’ bital found Ogi se ithe iT
| laine sradath fan waite oft e tonnes pyserne *
eae fnivninen: sqono oh tile a,
Wl) Gan afro aan Kah wilh ey venktosn 4
eae gpl aqulibwi do shave wpe
Hew noitomiy A SORT nl ober Beir r,
Mdbuik ite ot dodicily MemPmou att bisa boasts! at
BAT aft to wiodeiian LUAU fae
Wien aa sit Lidphoanh neg oT. hots
pute ofr Holitwadtwos geod peed
$F agos0) ody aon skiow oft gotanele y
mcelalerourt weytiniodi andl alls erie
ara Y watislhernn yrtoth whit Lek ulin
OP baleen tail oy adore adw pee: "ova
Veiwieth o{triabivnya Bie hovil ow srrouie aed red We
mipseirid Leth cit) yt Saxon aid Be Lc) eis
i eA BHO) old Woon aotrdse nbeeniie ri
mp ait eiten an dogs oaly Reng gr stars eh
Ayptliy aqubabatik) to teebiaa at ae otto spars
A AO tei oiidid os erolod hell ategeit tag} cattengy ods 6 10S
Wed dahiw ocd oft at beteco pee nrg hen ating bias, lk
tye wibw ei cl) tot bolas ¥ only dakelgel Ha wid OOr
eer) oisw nec watt 2couleaow OR ie gaa cibe
oC aeiHO DY) math) Shun, ceed lt csr ate A ATOR
“he OO Ate sak eile acta thy bret bt ay IPI LW ie Ala "so
‘htartl Pre wanda (08 M98 tol! aniank haw cool eee ae
atau Che | ID seared, Aull COX thet teult eben eRe tee mer oi
tL oe TT doe watio ont. watdond tee aairediladhyins 3 ab,
Debian’
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Ppa
CONTENTS
Page
eee ey eee 2 eee ee ee ee ee eee fae XI
Arranvedinyorder of serial mumbers. #224252) 2 2 ak XI
Arranged in order of catalogue numbers__-_____--___.-_-________- XIV
Special signs used in transcriptions of songs______-_--_- Ewe its, 20h ee XVIII
[PU nVOeaY EN YS Fa aa ee ERO TEE Ya SE Oe ea an Le ee, Se XVIII
Names of singers and numbers of songs transcribed___-_____._________-- XVIII
BEERIRIITILOCH hone Oe ben Se oo ok i Se ee eee 1
DMRTIECH RTOS evo toriee lye ee Me ke eee ie 8
(ULE UES ICG Dal of: x Rape ge Ro ea a CR ER me Rey eto eet po 15
PRIME GEA OMVMACIIIESONO S26 Sik ew. se eee 16
PY AUIS OTA PSS io es te et hs ce oud a see RE ad 16
NCCES FT SON fy 2 Soe, SRA a RA areca a ga eR oa eateapees ape eee NaS /PeE LS RHO 22
Wuman musical instruments and: their uses... 232.2442 5_ oe bee 24
PITeRRANOsUNeInAMUSICl ese et eee Se a ee ee 25
Maqui amusical instruments and their use...o2+2 22-2222 222--2254----- 27
Comparison of Yuman and Yaqui songs with Chippewa, Sioux, Ute,
Mandan, Hidatsa, Papago, Pawnee, and Menominee songs:
APO UIA TeCeaNaly SIs = thas wey aie. Sa pspstey Se Se ee 28
MIGNON VE LOA LVSIS = Arad? yt ee het a bee ee 36
TVG LES CDS Ey Gas Sn 41
juie.cromation, of, bernard Mame: i076 S2e52 0 8 oe Ss 43
ACCTEM AVON Glebe. 2 Sa 48e ek ee tee es 48
Yuman legend of the origin of the cremation custom and memorial cere-
1 Olean eee Rope tw funn ss Oe Sd ee ek ee ee eee 48
WITT ANC Oe ee esse Grider) SL Se eee lL ee 66
Wim rium sme eing. dance, (Pipa) 2.28 22 Sip Sesce Be oe Sb eS 72
Wilms) Memorialiceremony (Marok).. . 2252 2 ee ee 73
Brecon nCremaAnonACpenGe. 452 aAt oot Slee te Ot bee a 85
Mohs ercremationglepend 24229-9520 4-20 ee ee ee ee 98
Brenimoeny.ol.une sick oby the Yuma__.......-_-_-.-.--2--2-.-=2-.55-< 100
Nani delish tnineusOne ssa). ee ee eee ala
ERS LR Ss fo E172 a a a 130
eR CRIIG NGG het a 3) nebo n re sein Ute tb eee do ee Se ee 154
i pp] DVS (CVT 2 a ll a a ee ane 165
Warnrnas @ SOE amNysGAnCe. = 45 2 ea ee ee ee 166
Caocopasibindedancess i222 5 226 on, ek cy he ee ee ee 168
MEG avem EICORG RCC seat ta a ete Spee ee er ME OEE Bee Sie tine se eS 182
GocopanReum aAnpayxw a CANCCs Sea ene ee oe ease ae ee eee 185
Yorn EWC Wa ee a Pe 5 ee 193
WOUND PDTC 5 cs A ee en eee 194
Pena aGnpnsommenloren= 2252 1.2 ola ee cess Kae aSceseess 2 198
PmInCOUAKCOMMEMENUN SONGS 2-5 ose. eee eS oe ec eee ee bee 199
Melodic analysis of Yuman and Yaqui songs____..-._.-.........---.-- 202
Rbythmic analysis of Yuman and Yaqui songs.....-.........-.-....-- 206
CL SVP EGTA UTIDS CURE EG op ah PS site ia ae MONT el il na NC ee 209
TiO bsp es ee ys apy pe eh cd aS i ne Pe EE en a 211
at slornirtt ro : ‘
wiwohitoare gnkyen utes Aon Y
com Hy rete "tf,
mine
By". ‘ip svi sii hag
¥ bry
oe pret ; Aen
Data
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- n'y “we “ue - ~ =e r . + ne ele yt
aetna orth gay
Pol ae nite nr a a hs fl
‘¢ re has ; aha te watt baa DEW Yo: mbna :
_ 8 uk wat ; tau. o> dha gamle bi oni ap aii
an “vey Laboaienis bc Toe sie eur ne} Nise 0, mile ods Me. » bt
- re BP : tl) hohe lb oe! pels }
i : ; iu In eraonee st + DEM
by . to if) weairets nin we ‘i
ed es Chelta M) uxeerordnsea re
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ILLUSTRATIONS
PLATES
. a, Bridge across Colorado River at Yuma; b, Site of Fort Yuma
Hisava tienya eyed eax | Spee Oe Oe eat a PO Re aT A Op A OO
. a, Yuma dwellings (1930); b, Yuma dwelling (1922); c, Gathering of
leadingwMenlOfey ume eiribe os. 420 2 ee es ee eee et
. a, Yuma man and woman; 6, Yuma woman; c, Yuma man____--_--_--
. Group of Cocopa exhibited in the United States National Museum __
rmorarouch mingle of arrow. weed ==... ..=.---.s-L25 222-2 ase55
icin eTOL OCOD S Prripe. 960) 22. ol eee a eet
Grol .of Cocopa with Dr. WJ McGee... ..-..--__---~-- ~~
. Cocopa habitations constructed chiefly of brush, elevated storage
OTA SEO RRO TAT rere siccs See Dees ele Si Lae
. Cocopa habitations constructed chiefly of brush, elevated storage
PInswMoronsin <= see fee es Poe es i te oe See
. Cocopa house of earth and wattle, storage bin slightly elevated above
ANB UIT Clete are hat end RO 8 ye ek ee Oe es
. Cocopa house of cottonwood poles with roof of straw and clay_-_-__--
. Conference at house of Chief Pablo Colorado_...-...-.-__---------
saeacopa..cormfield after harvesting=....-.......-L2.22.....--.4eee~
. Cocopa woman grinding corn on metate_______-____--------------
. Remains of Cocopa dwelling after cremation of owner and destruc-
MoMor a) his personal property. =.=. =2~2s- 224-202 - Sees
. a, Frank Tehanna (1900); b, Frank Tehanna (1922)_________---_---
a, Irrigation ditch near Cocopa day school where songs were recorded;
b, Stockade for cattle and sun shelter near Cocopa day school-_-_-_--
aN UREPORT CORUUBN SEM 08 ae SS eB ie a te Sele Slay sin SR
. a, House where songs were recorded; b, House in Yaqui village;
c, Loretto Luna and child in front of his house; d, Chapel in front
Of which) Deer dance, was piven. - 22.22 22-2 22-22-52 seston]
. Basket used as drum, with cottonwood drumsticks and bundles of
ATROWSWCeU WISCOPAsHGrUMStICKS ce ys ee Sees es eee
BECOCUP AYP OUTCMEAULIC S Pe Lt ee sce ee Soe oe
Beier Caurilbrauiles Mer bel kel oe a ee eee kl eee
fee Uminransverse-and vertical flutes 2... 2.052. 044042242242 fee
. a, George Escalanti playing cane flute; b, Yaqui playing flute and
Crumpet hersameytimeve. f. 2222 es Se es ee et
Ey VES LOT'S (A ON Es cS ie 2 a en a AP
. Yaqui rasping sticks and half-gourd used as resonator____----------
. a, Yaqui rattle used in Deer dance; b, Rattle worn in Deer dance_---
na, Juan Ariwares. 0; Mike™ Barley <2 92 eo oe
ea, Aliredscerame. 0,’ Mrs: ‘Charles: Wilsons... 2202-2 ee
TEXT FIGURES
MME pinodnon Wume Reservation. 200. 22-02-22 5--22222-2sceceeees
; Decorations painted on face of Cocopa girl_...__..__--..---------=--
Cromanlanger ants) And PYyTO (0) <2 .55025 sock ode cece
~eDiseram of numan Being dance. ..2+.-.2..-..+..2.-4--------he<-
Frame for image in Memorial ceremony - --------------------------
SeOiagram: oh Memoral ceremony -——--2....-...-----------.2-5---es<
SOI oLAMEOMmMCCRnGaAncCess see nee we ee Pe i eee
OmMmo pp
i ue
7 ua . A:
i
ot ere a ee © ot
es Se ean EN PAAR a ph avid 7
Pray dy —" Yo alte rt 120
yer , | '
to R ibeyit dy t) » j(eBes) nul iwied sift wy }
pilates Coe ek Waa he Lait sie
hat aout oo lene Byes tt on
VM. enti Sotiad wdtint re
racy. ae | i
io ae
o
- | Gin aan iN an an ‘atoae
fi é ae oo NN pe fay Be boca yaa
/
a
th Pua : re ; } it yt Ae yh i 1 Beak Myah hy binsapeny
ye, pee art a ada Cingreven ay eli tie \
ay ot
A ; phar uh if f al ot (G0ur) ELC ate : 43 be)
a 4 RORY Ze he i Hoye] Lie Vi by. aan 4h ve iit) volte wnt
ne 5) tea . nitlede (ne bas oftang vol sbadagie a) Det .
a ; heals Tn Sie we uhcha lay Oe tt Se ones oily Lam aa)
Rs np 1 hans trol ” Meme, Piper Me Weer ee vw a ot
OF (th foci by ; r rt an Elita toons! sapere t otter
a care aly Bae ABA od ty
: , wt , h Ee i dtiw eee i aa) he ant
‘5 ne (yikes eat femur hoow we ;
= ws m on oy i'n lh gab an ee oa brug acon
» OS , .. olltes Suey u y owned
+" ‘ t fn a rh [athe bi yy rey aety
‘ a) tral i yor gente fdvata ioe
me ecnih onnen totd |
ve i coy tad hit a tty a tie
a) iy t eB
a . iy goott at eats ht Ve f
ey co nfl OATES patel a eel
bY hs ay ly her quibfot) veatth
i mn i i "
aS nok geay gaty wih we
ae 1 mt AG botuta ty savnltarigne
Ah
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if | a’ VI atte UR 1G Usa
£ el - ff MK i) ‘ i tap at ul tot janx’
‘
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# tbh youth We exh Yai
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Serial No.
LIST OF SONGS
1. ARRANGED IN ORDER oF SERIAL NUMBERS
CREMATION LEGEND SONGS
Mewililumaker autos Sa. eee het ae ie oe ee
PlEnAVedInIsnee: the Hute’ =. 22-2 ose soe
iRiemiVionGer-bOvels DOE. 2525-42" s2 ss 2 22 ee
The Wonder-boy decides to change his name____---------
The Wonder-boy selects a new name_______-_____---_---
» Lhe. Wonder-boy and his father, (@) 2 ----
whe. Wonder-boy and his father, (6)\2- 22 2 2 ek
. The Wonder-boy on the mountain
Peune. Wonder-boy on bis travels .222- = 24-42 -e tee eee
Plbe Wonder-boy meets his) brother -—=--_---2- = =2 J =e
. The Wonder-boy meets a jack rabbit ___________--_----_-
. The Wonder-boy and his war bonnet ________-__---------
; Nong Concerning the wild catz:._......-.-------_+- ------
» pong Concerning the hummingbirds. 9/2-2_.-..--=.----
Corn Dance Sones
SMEOe MEAN CE, KONG (Gd) an eit BADE ON Pe oo se
PC OTMVGANCE.SON Gs (b) = katate net ee ine TE UE TS
PC EHEC TCE SONA (C) sis str 55 Siar LOS eT eee
PROOETMMGAN CE SOM ON (Ch) pee ve = en hs em leer PITS fe
S MCOrHIGaANnes BONG iE) 280s cee DO IT OM Bele AN
MermoriAL CEREMONY SONGS
Memorial iceremonycsoneg: (@)) 22225 2s ee
. Memorial ceremony song (b)
pe iviemorial’ ceremony. song: (¢) 22. 2222S oe ees
a Memorial *ceremony- sone (d)is22s se sara re SN
BMemorial ceremony song, (6) = =e ae ee
EeMemorialiceremony sone: (f)s = 4s ee IN eee
. Memorial ceremony song (g)
> Dhenliness of the superman. lueisuieos at eaTe pale fun) ia x
» Dbheisuiperman,sets an example2_=2--2_ 1s) ao,
, Thégsuperman grows weaker_......-.-.- 1. UW 24ers
Pauuheyiperman speaks. Rho DI Se
Melherror comers Of, the earhhs see sews yo oe SS
Pe LBCRAINErINAN CICS... Sa rise BL De 07
. Coyote comes to the cremation of the superman_-_---------
. Cogete plans, to seize the, heart... _.--_ ih hwaiiale
. Buzzard tells the animals what to do______ 22 24224252222
. Comete makesia request. .2 9 5 wt
pe@Gvauemeimes the hearh. 6 es a ees eee
Mmeavacrenia the Hearts. uate se ee
1238
XII LIST OF SONGS
Serial No. Catalogue No.
a0. “Iam going to'die” .._..-.---------+-s2=5=S=seeseeeer=
Sonas witH TREATMENT OF THE SICK
49. Song when treating the sick (a)... 4.2 2--+ 22 eee
41.~Song when treating the sick (6) ....--..--.--- 2-52-22.
42. Song when treating the'sick (c)-.-. 0. 2-2-- 42b 2 2e0l fee
43, Souge when treating the sick (d)_...._-2- => S20 eee ae
LIGHTNING Sones
ire OT havetarrived inthe sky” 2.22. 52525 See ee ee
Ab Tho sky is in darkness” 222-2 ee ee
a6, On top: of his own mountain’ <2 S52 ee
ay. pong or Coyotes ta ee
ae. At the end of the path in the Sky" 2-2 eee oe eee
zO) White Cloud declares*his power —-- see - se eee
50. White Cloud demonstrates his power (a)_----------------
51. White Cloud demonstrates his power (b)_---__-_-__---__--
Be...“ White Cloudis singing inthe sky" a2 eso eee
fo. T withsco toward the south’ s 3223s Pee ee ee
34: Monge to the woodpecker SS a Se ee ee
Hos SONPICONCEMMINg TNS OCCA Ie a = ae ea
Bo. Mivnnower isin “the skey” 22S Se es eee
DrEerR Dance Sones
bi: “The deer begins his travels”) a4-..47 wee se ee
58. ““The water bug and the shadows” =. =-_-=- =) Beene
59. Dance.of the water bugs:202-.20-2.-. 22.22 ee ee ee
60: The;water bug on the mountain. -____ _ = 25 = 2 eae
61; Theewater bug seesia, fish... 222-2 ee ee ee ae
62. The water bug stands upon the fish______________----+.--
63. The water bug wanders forever beside the sea_____________
64. The deer is taking away the daylight
65. Allsidarkness— 2-2-2 2 ee ne
66. The spider makes a road
67. Song of the blackbird
68: Songyof the, buzzards... 2-2. 002. 2 SRN
69. Song concerning the raven
70. Song concerning the deer
mu. The-bowling ‘coyote-__... 1. ..__=_____ 4 ys eee
(2. coe blackbirds:are dancing: =. 220. 355 ee
73. The dance of the blackbirds is completed
74. The redbird speaks (a)
%). Thewedbird speaks.(b)_._.__....__.___. "elanee soe aa
76. The humming bird speaks
77. The owl hooted
79. Song of the nighthawk (a)
80. Song of the nighthawk (b)
81. Song of the nighthawk (c)
82, Song of the nighthawk (d)
lt ed
1288
Page
99
104
106
108
110
112
113
114
115
116
118
120
121
122
123
125
127
129
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
147
148
149
150
151
152
152
153
154
LIST OF SONGS
Serial No. Catalogue No.
fer Dancing sone. ~ =. i .---.=-=.- Ce er epee: FA 1273
Pe DeMUenAnnne DMUSitee. 522 2.8 ee ee Se 1274
Meee AG Ole: thy ae oe eee lnm Nase Se EN Soe SER DONE Is 1275
mere olces\Or the people... 27 AOd ABMs oo cece 1276
a iN CROECT: ALC AnD LLY or ae err ttt otter 1277
Bow lhewdeer and the flowers 2. ee 2 SII IN 1278
Oe ANEWSUAINE TALS es FE fess er are el 1279
SU MeHesTISINGIAUN eee me Le ee SS 2 hs yt 1280
fe ee neobuAl Is sINPIN Pee week i eee ee ee 1281
Speer R RTM (Ch) ) ee tes a re ts Se ee eS 1282
Semele alta Gr (0) nett wenn se le A a as 1283
SHL,, ABO EA TICE at ri A> iets aL mek CTR Rn a RETRY ne 1284
nw Nerdecris GANCIN Gia sf joe Jie soe wee ee 1285
Pnemonencr tine goer dance: £2 28.002 Fk ee ee 1292
Ca’KorAMv’s Dance Sones
97. Song concerning the meadow lark and the diver__________ 1236
Bee sone concerning the quail..26.0. 22. 2..2ce se 5AM ss 1237
Brrp DANcE Sones
go. Opening song of the dance.._=... 2262 2 aol eb gee 1243
100. Sorg in the early evening (a).........-.- 22. t2LL 2-22. 22s 1244
a Songin the.early evening, (6)... sete oto ee 1245
ig], Songiin ‘the early evening (c)....—.... U4. 2252. 4:4. 22L4 1246
as. Doug at about.midnigh?.(a@)... 905. sul abies gull soles 1247
fa cong At about, midnight (6). ..2---.2.-...-.-.ss-.4-.-- 1248
fos. Song) at about. midnight.(c).._sevo1el epluyiy wired goin 1249
Mo. Seng at about midnight, (d).....-.-. 2 1.5. 02 42 1250
ao7, Song! concerning. the diver.-..2222_202 Leyes. Boise t eve 1251
10S: Song,concerming the Pleiades: ..2..........2...-.--.-.-- 1252
fe: pengin the early.morning -(@)).2 2205 52s222525222 2490254 1253
mi; peugiinithe,.early morning (b)\...2252.2- 2809.6 2922 2viG 1254
mia”, Closing song of the dancen...3.22222252222550i4.0 0.0 _ 1255
ees iroecdance SOng,y (G)\ sepa 2s. fe Oe A ee ie 1289
tee SITOKGancersOn ey: (OS as 222 ee ene ee a ee Ee 1290
ia birdsdancesong (6) 2 ta ae ae ee ER ee eee 1291
TcumMAnpa’xwa Dance Sonas
fe ene CN OT ROTIE (Gd). 2 2 es eA eS eS ES ale al 1268
iiiGmMancingisong, (0). 022-. joe ee 2 a es 1269
ieee DATICIN ISOM! (GC) a: 2s ye Le eee eee A a ee 1270
MS Wancm pe ysOne. (d) 2 A, ete WS bee pe ge SU han 1271
aOR tein pa sOMo (6) 202 soe he Se ble 8 ag 1272
Tuna’K Dance Sones
feo Somme or Wiumak dance’. (@). 228 we ek yee ya 1224
por ome of Tunak dance (b)2. 27322 52 ole ee et te 1225
eer OLY OL rrak Gance (cc)! 2282 es te a Oe lk ee 1226
Peo. ORE OF a unak dance (d)2e< 2 oe ee ee peewee 1227
XIII
Page
156
157
158
158
159
160
161
162
162
163
164
164
165
166
167
168
170
171
172
173
174
175
176
Li7
178
179
180
181
182
183
184
185
187
188
190
191
192
193
193
194
194
XIV LIST OF SONGS
Serial No. Game Sones Catalogue No.
fe. wae Bone Ha) Se Ss gC ee ee 1241
125. Game song (6)..~.--------.--------------------------- 1242
Sones ror CHILDREN
OG UR en Si a ee oe eee eee 1228
ier. Way did yousery,? o-oo eee ee ee 1229
Pen ee leer Sy DARN goes = ap eee ee 1230
MISCELLANEOUS SONGS
To. Mone oF AUMITALION. ~~~ oe ee ee 1287
PE AKL BODE oe 2 = er a ee 1286
2. ARRANGED IN ORDER OF CATALOGUE NUMBERS
Cata-
logue Title of song Name of singer ges
oO.
Yuma Sonas
1163 | “The deer begins his travels” ____-_-- Alfred Golding- --- 57
1164 | ‘‘The water bug and the shadows”’___|____- Gob aft tea: 58
1165 | ‘} Dance of the water bug’’_-.-__- =| ab Gorin. ayo we 59
1166 | ‘‘The water bug on the mountain”’___|____- dover: ulaen ad 60
1167 | ‘‘The water bug sees a fish’’_________|_-__- Cowes whos 2A 61
1168 | ‘‘The water bug stands upon the |___-_- dosikhis tend 62
fish.”’
1169 | ‘‘The water bug wanders forever |_-_-- AG ste his tet 63
beside the sea.”
1170 | ‘‘The deer is taking away the day- |___-- db: sa pahope 64
light.”
Ag) || Als "darkness. ~~. 2022.5 fe ee eee Gower obi ad 65
1172°| “The spider makes a road’’___-._____|b¢- se dome. 2 heey ad 66
bid | Mong of the blackbird. 22. 22222225225 do 483 fer a4 67
yo.) BoOuR Os the DuZzZargs..o os) 2225 See Sha alae abt hs 68
1175 | Song concerning the raven_____.____|.-_-- dor aes eee 69
1176 | Song concerning the deer___-___-_--|_-_-- do: ai ae aes 70
m4 | rue howling coyoue (oo) sos 2S sireeee FG (hast aks pean 71
1178 | ‘‘The blackbirds are dancing’’_______|_____ Gon ares t fae ore 72
1179 | The dance of the blackbirds is |____- Gora fe sews 73
completed. |
1180 | The redbird speaks (a) --_...-.-----j---_2 doltre tae ere 74
iste) Ene reabird speaks (0)222 8 ss =s|\esene dole ers 75
1182 | The humming bird speaks__________|_____ 16 Lyme ey ah ppc 76
Asam ae OWlnOOuld joo Ba a6 a= s esr esta done erase 77
1184 | “The redbird and his shadow’’_____-_|_____ goles VARE ee 78
1185 | Song of the nighthawk (a)_-_____-__|.___- Got ne nee See 79
1186 | Song of the nighthawk (b)__________|_____ Ouguiya 80
1187 | Song of the nighthawk (c)_______-__|____- (8 Lappe feng cat 81
1188 | Song of the nighthawk (d)__________|_____ qo 20d. Sea 82
1189 | Memorial ceremony song (a)________ Charles Wilson_-_-- 20
1190 | Memorial ceremony song (b)________|____- dof. 2 ae 21
1191 | Memorial ceremony song (c)________|____- (6 Co Wisner? fae ts Lo 22
1192 | Memorial ceremony song (d)_.--____|____- dOtcedes eee 23
LIST OF SONGS
2. ARRANGED IN ORDER OF CATALOGUE NumBers—Continued
Cata-
logue
No.
1193
1194
1195
1196
1197
1198
1199
1200
1201
1202
1203
1204
1205
1206
1207
1208
1209
1210
1211
1212
1213
1214
1215
1216
1217
1218
1219
1220
1221
1222
1223
1224
1225
1226
1227
1228
1229
1230
1231
1232
1233
1234
1235
1236
Title of song Name of singer oo Page
Yuma Sones—Continued
Memorial ceremony song (e)-------- Charles Wilson__-_- 24 81
Memorial ceremony song (f)..------|----- dewhi su beeen 25 82
Memorial ceremony song (g)-_------|----- doze) sedge 26 83
Song when treating the sick (a)_____-_|___-- dosuobe dens = 40 104
Song when treating the sick (b)______|_-_!-do______----- 41 106
Song when treating the sick (c)______|____- dots 242 see 42 108
Song when treating the sick (d)__-___ ____- dos viet 43 110
“‘T have arrived in the sky’”’______---|_---- dotsa stim 44 112
S hesky is in ‘darkness? = 2.2 2255 22<|22 2" CC Ko pan Sot ne 45 113
“On top of his own mountain”’______/_-_-_- 8 (os Ue a in 46 114
Siti O10 Oca] 0: Lak pee) ar i een AL dos. aed ats 47 115
‘‘At the end of the path in the sky’’_|____- BO na Selec 48 116
White Cloud declares his power______|_--_-- GO ee sete ae ay eT 49 118
White Cloud demonstrates his power |__--- OEE tose he sageh 50 120
(a).
White Cloud demonstrates his power |___-_- Cyt aS Pe 5 121
(b).
‘“White Cloud is singing in the sky’’_|_____ doe te s-Avests: 52 122
“Twill go toward the, south”’__- ~~. -~|2--! tl hg eet hee ce 53 123
Song to the woodpecker--_....-_---|.---- (ce ees 2 ae 54 125
Song concerning the ocean__________|_---- DO oes apt e cstly 55 127
SM pOWwer isin they" ote et (2 co Saas oe Pg a 56 129
The Wonder-boy changes his name__-_| Peter Hammon_--_- a 52
The Wonder-boy selects a new name-__|_--_-- CicweE Meee 5 53
The Wonder-boy and his father (a)___|___-- (3 (gone eee Pe 6 55
The Wonder-boy and his father (b)___|_---_- dO s44* a2. e452 7 56
The Wonder-boy on the mountain____|____- 0 ae eee 8 57
The Wonder-boy on his travels_______|___-_- co Ke anes eee ar ae ee 9 59
The Wonder-boy meets his brother ___|___-_- Gu?) + a5 nee 10 60
The Wonder-boy meets a jack rabbit _|___-_- dO... asPerisd 11 62
The Wonder-boy and his war bonnet_|-_ ---_- dori9s at ee als 12 63
Song concerning the wild cat________|____- Cosa s8h 2frat et 13 64
Song concerning the humming bird___|____-_ BOrae 52a se 14 65
Song of Tunak dance (a)____--_-___- Mrs. Charles Wil- 120 193
son.
Song of Tunak dance (b)__--_-______|____- GOES Fak Seen 121 193
Sonpiererunnk dance, (ce). 5 2 GOL. /S ee = 122 194
Sone onsbunak dance, (d)is shee eel GO marae eles, 123 194
Ur SUPE] G7 = ne ge | GOS stb rey hen 126 198
TREC VOU GrY. tesa ee | Se GO. sa ratiange (i 127 198
mEIcomIy DADY 22.222 bee! doe saasr!s se. 128 199
Corn dance song (a) ..... 2)... . _ eateord VPA! 15 68
Com dames song (pb). 2: =)... 2424-|--.-4 Clojaae Ae ene Re 16 69
Gorm Gnnce song (6) e220 8 2 ef eS Come wea Sie 17 70
Carn dance song (d). 22). 2 et _ dons 2 oat ees 18 71
Gorm dance song (¢)._-- 2 222420222 -|--- 2. Gonna 5 = sae 19 72
Song concerning the meadow lark and |__~_ ~~ omnes 5. sakes 97 167
the diver.
XVI LIST OF SONGS
2, ARRANGED IN OrpeR or CaraLocuE Numpers—Continued
Tague Title of song Name of singer —_ Page
0.
Yuma Sonas—Continued
1237 | Song concerning the quail_--.-------- Kateoraragereg 98 168
e258.) “will make a flute?....---.-.---4 Joe Homer_-_-__--- 1 49
1239 | “‘I have finished the flute” _.-.------|----- Go Mos Lee ea 2 50
1240 | The Wonder-boy is born------------|----- do wuowr ag 3 51
#201) (Game song, (a)... .80.-2.----—~- 28 Nelson Rainbow-._-| 124 196
e222 | \Game song, (6).....20_-....--~-_- 2 |Boeee doe Lee. 8ec 125 197
Cocopa Sonas
1243 | Opening song of the dance_-_--. -~---- Numawasoat _ ----_ 99 170
1244 | Song in the early evening (a)--------|----- CG KG uilapar ces S il 100 ily(al
1245 | Song in the early evening (b)-.------|----- dg S28 bh aes 101 172
1246 | Song in the early evening (c)--------|----- C61 feet al oy ae 102 173
1247 | Song at about midnight (a)__-------|----- dose. pass 103 174
1248 | Song at about midnight (6)__------.-|----- Qos. eae 104 175
1249 | Song at about midnight (c)___------|----- 3 la aaa 105 176
1250 | Song at about midnight (d)._-------|----- cc Ce ae ESS ae 106 177
1251 | Song concerning the diver.....-----|----- [jen anid el pele 107 178
1252 | Song concerning the Pleiades__------|_---- Qos Seen se 108 179
1253 | Song in the early morning (b)_------|----- 0 Fo a fhe Mg 109 180
1254 | Song in the early morning (c)__-_---|----- 0 CO pea ll aac 110 181
1255 | Closing song of the dance___--------|-_--- 516 pik A Mh Mh ha PPL 182
1256 | The illness of the Superman_-------- elm eee eres 27 87
1257 | The Superman sets an example-_-----|___-_ CEG jang le Neh pe 28 88
1258 | The Superman grows weaker-_-------|.---- 1.0 eat 29 89
1259 | The Superman speaks-_-_--.--.-_--_-|__--_ agus os aun 30 90
1260 | The four corners of the earth________!____- Gols cya eee 31 90
1261") The Superman: dies! )-- =. 52. es Coe. 22s ee 32 91
1262 | Coyote comes to the cremation of the |_____ doe TU ae 33 92
Superman.
1263 | Coyote plans to seize the heart______|_____ dots VA mee 34 93
1264 | Buzzard tells the animals what to do_|____- or eee see 35 94
1265 | Coyote makes a request_____-.______|_____ cores) BA Tare 36 95
1266 | Coyote seizes the heart____.________|_____ does AAs: 37 96
i267 | Wovyote eats the hearfi'".. 0 22 e|- sro ea em 38 97
i268.| Dancing song. (a). UV s-2. 2c Mike Barley-_-_---- 115 187
pepe. | Wancing song- (6) 8222 2b doa eee se . 116 188
Bae) doercing song. (¢)e Oo 2 woo AGLSA, BAR 5 _ 117 190
Dae) deenoing Bone (d)). Ob. 8. A el dO = Se seeesse 118 191
Pete 1h) RTOS BONG. (6) n-3 Pelee 5 oe or ee do. 1) Bee ie 119 192
Yaqui Sonas
Peres ye renroine Ot 6 8 ec nr <b iy my vin mae) Juan Ariwares__--| 83 156
fen ee be quailcin the ibush? —* 20.20 la oe Fo Co tah see a gb ae 84 157
Dee POO MEnMe te sooo te ee aes doty. Ss cen 85 158
i201 owes of the people... eine” dos ae ss ee 86 158
ier) ||} ane Geer ane at play? 022 22 RS (3 | oP Dd ks 87 159
9. ARRANGED IN OrpDER oF CaraLocuE Numperrs- -Continued
1292
LIST OF SONGS
XVII
Title of Song Name of singer cere Page
Yaqui Sonas—Continued
‘“‘The deer and the flower” _-__------ Juan Ariwares---- 88 160
Se swimmer TAINS) eee sO ee dos ee 89 161
SBRMOTISING SUN, 2522 aoe ae =| a 0 Coulee me nal a 90 162
Pibne bush is smping’’ = 220 32.054. 5|25-. 3 (8 famed aA tye ha 91 162
ahetunt (@) Sei ea oe Fae aera) AD. 2 Go 24fs 92 163
iheshunt (0) seen 522 22226 ee Soo alee ee. dos: tasas3 5 93 164
ue pinuimntia(G) oan ote ee ee Re alee (6 (aya e Coheee ee 94 164
Prnerdeer is GANCiINng 2. 2. 22-554 18-22 (6 Kae ee 95 165
PTILAON G2 ta a Jose Marie Umada_| 130 201
Song of admiration. _.-.-.---.~-~— =~ Anka Alvarez-__---- 129 200
MouaveE Sones
Song of cremation legend----------- Billie Poor.22_=222 39 99
Birdidance song <(@) - 2 28 4. Sse) LeonardCleveland_| 112 183
Bird dance song (b)..2----- 45-<teiala-2 - doidece-se-h= 113 184
Bird aance: song) (¢)=-22--.* =~ 4+5- lee. - COS Maes ie & 2 114 185
Mayo Sonea
Song of the deer dance-_-_----_------|_- Juan Ariwares_-- 96 166
67183—32——2
SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS
(. placed above a note shows that the tone was prolonged slightly
beyond the indicated time.
.) placed above a note shows that the tone was given slightly less
than the indicated time.
The letters A, B, C, and D are used to designate rhythmic periods
consisting of several measures.
[—___1 placed above a series of notes indicates that they consti-
tute a rhythmic unit.
PHONETICS
Vowels have the continental sounds and consonants the common
English sounds, except that—
& is equivalent to English obscure a, as in the word ability.
c is a sound resembling English sh.
te is a sound resembling English ch.
x is a sound resembling German ch.
fis a sound resembling English ng in the word sing.
NAMES OF SINGERS AND NUMBERS OF SONGS
TRANSCRIBED
YUMA MOHAVE
AIeGmGOlMling == Stu see oe 26 | Leonard Cleveland] 3
Charles Wilson’ (Ampé’kwarau’)*_ 24) Billie Poors 2 eee aI
Peter Hammon (Misahai’kwakiu)* 11
Mrs. Charles Wilson (Mavé’, YAQUI
meaning. (‘Snake)) 2-2 Ss = =o a
IT COLEGR Te ee ee ee 7 |\Jdan Ariwares 2.2222 ssse022 >see 13
Joe Homer*® (Jose Homer)__--_~ 3 | Jose Marie Umada___--_-_______ 1
Nelson ieinboOWw.--—----—-———-—— 9:| Anika -Alvare“ ee. eee 1
Cocopa Mayo
Mane, WasON boo 8 18 |} Juan Ariwares 20 l-nee -o eee i
RO Tee (ASR ATION) oe 12 pes
Mike Barley (Api’Inofine) _____-~ 5 Totals 2:2 ee eee 130
1Died Sept. 10, 1929. ? Died Apr. 24, 1926. ’ Died Dec. 22, 1929. 4Died in 1928.
XVIII
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 1
CHARLES WILSON
YUMAN AND YAQUI MUSIC
By Frances DENSMORE
THE YUMAN TRIBES
The valley of the Colorado River was the early abode of a group
of tribes known as the Yuman. The Colorado is one of the great
watercourses of the country, and in a portion of its length it sepa-
rates the States of Arizona and California. On either side are sandy
stretches, high mesa rims, and barren mountains, beyond which lies
an expanse of arid desert. The environment of the Yuman tribes
shut them in and made them a unit, so that their civilization is dis-
tinct from that of the Pueblo or the Californian tribes. The gap
between the southwesterners and the Yumans is profound as regards
religion. There is no trace among the latter of kiva, altar, mask,
offering, priest, initiation, fraternity, or color symbolism. These
elements are replaced by the predominant factor of dreaming.*
The three Yuman tribes under present consideration are the
Cocopa, Yuma, and Mohave. It is said that in 1604-05 the Cocopa
lived 5 leagues above the mouth of the Colorado River, and that
they extended into the mountains of Lower California. Thus they
were confined almost exclusively to Mexican territory.” When the
present work was in progress they were living in Sonora, Mexico,
and southern Arizona, as well as in Lower California. North of
the Cocopa are the Yuma, whose territory is the Colorado bottom
land as far as the mouth of the Gila River. The juncture of these
rivers is northeast of Yuma, Ariz. (pl. 2), and can be seen from that
city. The illustration here presented was taken in 1900 by DeLancey
Gill, from the site of the old territorial prison, located on the high
promontory at the right of the bridge. (Pl. 3, a.) The ruins
of the prison were standing in 1922. At this point the Colorado
River divides Arizona and California. The Yuma live almost
entirely on the west bank of the Colorado.
1 Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn.,
p. 780.
? Handbook of American Indians, Bull. 30, Bur. Amer. Etthn., pt. 1, p. 319.
2 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
Above the Yuma, on the Colorado River, are the Mohave, their
country being the valley which bears their name and is now in the
three States of California, Nevada, and Arizona. The river civiliza-
tion comes to a sudden stop with the Mohave, and, above their coun-
try is the Eldorado Canyon, a bend of the river, and the vast gorge
that culminates in the Grand Canyon. The Mohave are better known
than the other Yuman tribes, and Kroeber states that “the most
concentrated, energetic, and characteristic form of the river civiliza-
tion of the past century or two has been that which it took among
the Mohave.”
In comparison with the Yuma they were “rather more venture-
some and given to travel in far parts, and probably more active in
their inward life, since their sacred places are known farther than
Yuma influence penetrated.”
The Yuman Indians are “remarkable not only for their fine phys-
ical development, but living in settled villages with well-defined
tribal lines, practicing a rude but effective agriculture, and well
advanced in many primitive Indian arts. The usual Indian staples
were raised except tobacco, these tribes preferring a wild tobacco
of their region to the cultivated. None of the Colorado river tribes
borrowed the art of irrigation from the Pueblo peoples; consequently
their crops often suffered from drought. All of them depended more
or less on the chase—the river tribes less, those of the interior more.
Mezquite beans, pion nuts, tornillas, and various seeds and roots
were important articles of food. None of them were boatmen; in
crossing rivers and transporting their goods they employed rude
rafts, or balsas, made of bundles of reeds or twigs.” 4
According to Kroeber, “the Mohave . . . are distinctly yellowish
in color, this color turning very dark brown by dirt and exposure to
the sun.’ This is in contrast to their eastern neighbors, the Papago,
whose color is a reddish brown.”
The town of Yuma, Ariz., is adjacent to the territory of the
Yuma Indians. (Fig.1.) It is on the eastern bank of the Colorado
River and directly opposite, in California, is the high mesa on which
Fort Yuma was formerly located. This is now the location of the
United States Indian agency and school. (Pl. 3, a, 6.) Looking
west from the point of this mesa one sees the Colorado River and the
flat land bordering it, dotted with the huts of the Indians; to the
southwest are patches of scrubby trees, and at a considerable distance
the cremation ground described in a subsequent chapter. Fort Yuma
was established after the acquisition of California by the United
® Kroeber, op. cit., p. 781.
‘Henshaw, H. W. Handbook of American Indians North of Mexico, Bull, 30, Bur.
Amer. Ethn., pt. 2, p. 1011.
5 Kroeber, op. cit., p, 728.
DENSMORE] YUMAN AND YAQUI MUSIC 3
States and the arrival of the overland tide of travel, but the Yuma
offered no particular resistance to the white man. Their last military
undertaking was an expedition against the Pima in 1858, which ended
disastrously. The ancient enemy of all the Yuman tribes was the
Maricopa, living along the Gila River.
The Yuma call themselves Kwichana, Kwichyana, or Kuchiana,
the meaning of which is unknown to them. A Spanish designation
uf
Be ear
D COLONIA LERDO
HEAD OF TIDE
FicurRp 1.—Map showing Yuma Reservation
is Garroteros, clubbers, perhaps with reference to their mallet or
pestle shaped war clubs. Father Kino wrote of the Yuma in 1690,°
and the word “ Yuma” appears first in his writings. The name is
said to be derived from Yahmayo, meaning “son of the captain,”
which is seemingly the title of the son of the hereditary chief, con-
tracted and applied to the tribe through misunderstanding by eariy
Spanish missionaries.”
Father Kino and Father Garces encountered few difficulties among
the Yuma, but two missions established later among the Yuma were
destroyed in 1781, having been in existence only a year or two. The
Spanish missionaries were massacred and the missions obliterated.
Early writers describe the Yuma as a fine people physically, and
superior in this respect to most of their neighbors. They were brave
and not averse to war, but generally stayed in their villages, where
6 Doc. Hist. Mex., 4th s., vol. 1, p. 230.
* Bull. 30, Bur. Amer. Ethn., pt. 2, p. 1010,
4 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
they raised corn, beans, pumpkins, and melons by a crude form of
agriculture. The population in 1853 was estimated at 3,000, and
in 1929 there were 870 Indians under the school superintendency at
Fort Yuma.
When visited by the writer in 1922, the Yuma were living in houses
scattered over the reservation which had not been allotted in sever-
alty. (Pl. 4, 6.) Their dwellings in 1930 were still constructed
chiefly of adobe and cottonwood poles, with thatched roofs. (PI. 4,
a.) A gathering of leading men of the tribe at an earlier date is
shown in Plate 4,c. The land is the silt of the former river bed and
occasionally has been overflowed.
The older men wear their hair long, often extending below the
waist and matted in strands with bits of gum. (PI. 5, a.) When
desired, this is wound around the head like a turban. (PI. 27, a.)
Many of the younger men arrange their hair on top of the head in a
high twist and cover it with a handkerchief. If they are traveling
in a dust storm they tie a handkerchief across the lower part of the
face to avoid breathing the dust. (PI. 5,c¢c.) Yuma women cut the
hair slightly below the shoulders and wear it loose (pl. 5, 6), cleaning
it by means of wet clay placed on the hair at night and removed in
the morning. (See p. 8.) The older men wear sandals in place
of shoes, but carry them if the ground is muddy. Both men
and women wear gay cotton mantels made by sewing together six
or eight large red or blue handkerchiefs, all of the same pattern.
This is shown in Plate 5, a, and in the portrait of Mrs. Wilson.
(Pl. 31,5.) The foregoing applies to members of the tribe who have
not fully adopted the white man’s customs. On this, as on other
reservations, there is a considerable number of young people attired
in the manner of civilization and showing the results of education.
Two legends of the origin of the tribe were related. The oldest
legend states that they came from a mountain farther up the Gila
River, on the top of which is “a square place like a map,” and the
marks of little feet in the rock. All the tribes of Indians were sent
from thence to various parts of the country, each being given what
it would require in the place where it was to live.®
The Yuma were given the arrow weed with which to make their
houses, and to use for many other purposes. They were given
a place where they could fish and where there were many wild deer.
A legend said to be more recent in origin is that the Yuma traveled
from a body of water and at every place they camped they made
a fire. Traces of these fires can still be seen. It was said “the
early Yuma were giants and the people have been gradually growing
8“ The origin of mankind was attributed, as by all the Shoshoneans of southern Cali-
fornia, to the north, whence a great divinity who still exists led the people to their
present seats.”” (Kroeber, op. cit., p. 624.)
SYHAAIYN VIID GNV OGVHOTOD AO SYNLONNE
6 aAlVidd Ob] Nitaadoe ASOIONHLA NVOIMSAWY AO Nvsaynad
BUREAU OF AMERICAN ETHNOLOGY
a. BRIDGE ACROSS COLORADO RIVER
BULLETIN
AT YUMA
b. SITE OF FORT YUMA INDIAN SCHOOL
iO) PEATEs
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 4
a. YUMA DWELLING, 1930
b. YUMA DWELLING, 1922
c. GATHERING OF LEADING MEN OF YUMA TRIBE
NVYVW VWWNA “9 NYWOM VWNA “9 NVWOM ONY NYW VANNA “2
S
ALV1d Obl NILSATING ASOTONHLA NVOIMAWV AO NvayYXna
DENSMORB] YUMAN AND YAQUI MUSIC 5
smaller. They fought with giants, and there is a certain mountain
where they are said to have hung their enemies. On the face of
this mountain, at about evening, if one stands at a little distance
and looks at a certain angle it is possible to see picture writing and
at night one can hear low humming talk at that place.”
The Yuma called the water “ mother ” and the sun “ father,” say-
ing the sun called the earth up from below the water. ‘They met and
kissed, and the sun drew back to the sky but the earth stayed where
it was. Mountains were left where the earth and sky drew apart.
They were the highest points of the submerged earth and remained,
becoming hard rock. Concerning this legend Kroeber says: “ The
Shoshonean creation has been designated as a myth of emergence,
in the sense that mankind and all things in the world are born from
Mother Earth, with Sky or Night as father.” This authority states
further that the Yuman tribes “add the fact that two brothers, the
creator and his death-instituting opponent, are born at the bottom of
the sea, and that the younger emerges blinded by the salt water. In
most Yuman accounts this concept of water origin is somewhat hesi-
tatingly blended with earth-sky parentage.” °
The region near the site of Yuma is called Ni’mkwitiva’v, the
name said to have been given by a water animal cailed Bony-tail.
This mythical creature is said to still reside in the Colorado River
at a point where it flows between high cliffs and is now spanned by
an “ocean to ocean highway ” bridge. (PI. 3, a.) The current at
this point is very swift and the river deep, with many eddies. Bony-
tail stays there all the time and speaks for all fish. Thus when a
medicine man on his travels (in dreams) talks with Bony-tail, that
mythical creature becomes a human being and speaks for all the
living things in the water.
All the Yuman tribes cremate the dead and observe a strict taboo
concerning any mention of the dead after the Karok or memorial
ceremony (p. 76). An interesting example of this occurred during
the writer’s work among the Cocopa. The building occupied as a
Government day school chanced to be vacant and was made available
for use, while at the same time a clerk from the Fort Yuma Agency
obtained certain data from the Indians. A goodly number were
gathered in the schoolroom, and routine questions were being read
in English by the agency clerk and interpreted to the assembled
Indians. Care had been taken in the form of these inquiries, but
inadvertently the interpreter mentioned the name of a dead man.
With one accord the Indians fled from the building. Mothers
wrapped their babies in shawls and fled, dragging small children by
* Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn.,
pp. 788, 789.
6 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
the hand. The men hastened to the door as rapidly as possible.
Looking from the window, we saw the bright shawls disappearing in
all directions toward the Cocopa dwellings. Not understanding
either the Yuma or Cocopa language, the writer was at a loss to
explain this sudden change of mood on the part of the Indians, but
the man who translated English into Yuma said (of the other
interpreter), “He has done a terrible thing. He spoke the name
of the dead. The Indians will not come back again to record any
songs.” The effort necessary to regain their confidence is apart
from present consideration. ‘The services of two interpreters were
also required when the songs were recorded, one translating Cocopa
into Yuma and the other translating Yuma into English.
The importance attached to dreams by the Yuman tribes has al-
ready been mentioned. Only one instance of a dream is contained
in the present work, Wilson saying that in his treatment of the
sick he used songs which his father had received in a dream (p. 101).
Thus the Yuman tribes present a contrast to tribes previously
studied in which many songs were received, actions prescribed, and a
power said to be received in dreams by individuals. The dreaming of
the Yuman tribes does not consist of visions in which spirits appear.
The men, on the other hand, claim that they dreamed when uncon-
scious infants and even prior to birth. “Singers sometimes say
they first learned a song cycle in part and then dreamed the whole.” 2°
This is probably the meaning of a statement by Mike Barley, a
Cocopa singer, that he “‘ inherited these songs and could sing them
without being taught.” (See p. 186.)
The Mohave songs here presented were recorded by members of
that tribe who live on the Yuma Reservation.
The Cocopa family group shown in Plate 6 is in the United
States National Museum. This group was designed and installed
by W. H. Holmes and the figures were modeled by U. S. J. Dunbar
from photographs made in 1900 by DeLancy Gill. The label of this
case, written by W. H. Holmes, contains a remarkably concise
description of the tribe, stating that—
The Cocopa are limited agriculturists, raising corn on the flood plains of the
Colorado River and securing much food from the grasses, mesquite, agave,
screw bean, and cactus. They also fish in the Colorado River and the sinks
formed by the overflows of the river and hunt rabbits and other small animals.
Their manufactures are the few articles required for their simple needs, such
as water-cooling jars of porous pottery, cooking pots, ete., simple cord work
and weaving for nets and clothing, ornaments in shell, feathers, ete., for the
head and neck.
10 Kroeber, op. cit., p. 755.
DENSMORB] YUMAN AND YAQUI MUSIC 7
Important household occupations are illustrated by the two women, one
cleaning seeds with a basket and the other pounding grain in a wooden mortar.
Water for drinking is cooled in a porous pottery jar set in the crotch of a
tree where the air circulates freely, and the returning fisherman has his cup
filled by the boy.
The pastimes of uncivilized peoples tend to some useful end, like the instruc-
tion of the boy in archery, which also furnishes amusement for the family. The
sun shelter at the back serves also for the safe-keeping of the wicker storage
basket, jars for seeds, digging sticks, and other implements of husbandry.
In the autumn of 1900 an extended exploratory trip for the Bureau
of American Ethnology was led by Dr. W J McGee, then Ethnol-
ogist in Charge of the Bureau. Mr. DeLancey Gill accompanied the
expedition as its photographer. This expedition was undertaken
“for the purpose of completing researches relating to the aborigines
of the Serian stock and at the same time carrying forward studies of
neighboring tribes.” ?°* Crossing the Gila River at Gila Bend, the
party proceeded southward about 150 miles, passing the Ajo Moun-
tains on their left, then traveled about 200 miles in a northwesterly
direction to Colonia Lerdo, where they camped for a considerable
time. (Fig. 1.) Many phases of Cocopa life observed and photo-
graphed in that vicinity have disappeared or been greatly modified
since that time. (Pls. 6-18, a.) The arrow weed was so tall that it
formed a jungle, through which Doctor McGee rode on horseback,
following a narrow trail. (Pl. 7.) The men wore long hair, an
old man of the tribe being shown in Plate 8, and a group of men
with Doctor McGee appearing in Plate 9. The fourth man from
the right is Frank Tehanna, mentioned in a subsequent paragraph.
Three types of dwellings were seen in 1900. The most primitive
of these habitations was constructed chiefly of brush. (Pls. 10, 11.)
Beside these dwellings may be seen storage bins for grain upon ele-
vated platforms. A portion of the houses were made of earth and
wattle, one dwelling being sealed because of the absence of its owner.
A storage bin elevated only slightly above the ground is near this
dwelling. (PI. 12.) The larger dwellings were built of cottonwood
poles, with roof of straw and clay, and an open shelter in front.
(Pl. 18.) The largest house in the village was that of Chief Pablo
Colorado, where a conference was held. (PI. 14.)
Corn was cultivated in fields, harvested in a crude manner (pl.
15), and ground on a metate by the women (pl. 16). This con-
stituted the principal article of food. The dead were cremated in
their dwellings, together with all their personal belongings, the
ground showing little trace of what had taken place. (PI. 17.)
Frank Tehanna, a full-blood Cocopa, acted as guide for Doctor
McGee’s expedition and also assisted the writer in 1922. (PI. 18,
a,b.) He was about 30 years of age in 1900, and 6 feet 214 inches
loa Twenty-second Ann. Rept. Bur. Amer, Ethn., pt. 1, pp. XI, XU.
8 BUREAU 9F AMERICAN ETHNOLOGY [BuLn, 110
in height. Mr. Gill designates him as “a trustworthy guide and
a man of great physical strength.” During the writer’s study of
Cocopa music he selected the singers and traveled many miles on
horseback to explain the work to them and persuade them to record
their songs. He returned, bringing the singer with him. (See p.
169.)
The writer’s work was done in the Cocopa Day School, a neat
building near an irrigation ditch. (Pl. 19, a, 6.) The location is
shown as “ Cocopa Ind. Res.” in Figure 1.
YUMAN CUSTOMS
Care of infants—A “charm” for a baby consisted of a chain
made from the four longest hairs in a horse’s tail. This was hung
around the child’s neck and said to stop excessive drooling; it was
also believed to cause the child to grow rapidly and be strong. A
specimen of such a charm was obtained.
Education of children—The Yuma began the instruction of their
children before they were able to talk or understand what was said
to them. The understanding of the child came gradually, and when
it was 7 or 8 years old it had the teachings firmly in mind. These
instructions were general in character, the expectation being that
when the child was old enough he would use his own judgment in
the application of the teachings to his manner of life.
Customs pertaining to food.—Rats were baked in hot ashes. Rab-
bits were sometimes skinned, cleaned, and stewed or roasted on hot
coals. A refreshing drink used in summer was made as follows:
A strip of bark about 12 inches wide was removed from a standing
green willow tree. From this bark the inner layer was taken and
a decoction made which was pink in color. It was sweetened and
drunk either hot or cold.
Treatment of the sick——Medicine men held a round white stone
like a marble in their mouth when treating the sick. This was
believed to bring success in their treatment.
There were household remedies in general use, but no magic was
connected with them. Tor instance, the leaves of the greasewood
were made into tea to break up a cold. The same decoction was
used as a physic.
A remedy to prevent grayness and to keep the hair clean was made
as follows: Mesquite gum and mistletoe were boiled and strained.
To this liquid was added thick mud from the bottom of a certain
lake. This was plastered on the hair at night and washed out in
the morning. At about 10 o’clock one morning a Yuma woman was
seen sitting in the sun washing this clay out of her hair.
Pictographs—When a man reached a certain age he “put his
mark on a rock for future generations.” All the men in a family
WNASNW IWNOILVYN
SALVLS
Q3aLINM AHL NI GALIGIHXA VdOOOD
ADO INIONHLSA
dO dNnowyD
NVOINAWY SAO Nvseauna
110; (PEATE 7
BULLETIN
BUREAU OF AMERICAN ETHNOLOGY
TRAIL THROUGH JUNGLE OF ARROW WEED (1900)
BULLETIN 110 PLATE 8
BUREAU OF AMERICAN ETHNOLOGY
OLD MAN OF COCOPA TRIBE (1900)
(0061) SADOW FM “YQ HLIM VdOSO0OD AO dNOYHS
6 3a1V1d Oll NILATINaA
ASOTNONHLA NVOINEAWY AO NvayHna
(0061) NIVYD HOA SNIG S3DVYHOLS GALVAaTA !‘HSnYg AO ATAAIHD GSALONYLSNOD SNOILVLIEYVH WdODOD
Ol 31V1d Oll NILATINa ASOTONHIL]A NVOIYAWY SAO NveayHna
(0061) NIVYD YOsA SNIG 3DVHOLS GALWASRIA !HSNYHA AO ATSRIHD QALONYLSNOD SNOILVLIEGEYH VWdODOD
tL 3ALW1d Oll NILST1INGA ASOIONHLA NVOIYAWY AO NVayenE
(0061) GNNOYS SHL SAOEY GSALVASTZ ATILHONMS NIG BAODVHOLS SSTILLVM GNV HLYVa AO ASNOH VWdOD0D
et 3ALvV1d Oll NILS11Na ADSDONIONHL]S NVOIMAWY AO NVSaeNa
€l 3ALVW 1d
Oll
NILATING
(0061) AVID ANV MVYLS AO AOOY HLIM SA1IOd GOOMNOLLOD AO ASNOH VWdODOD
«
4
a ete!
ASOIONHILA NVOIYAWY AO NVvsayenNnsa
(OO61L) CGVWHYONWOD O18Vd ABZIHD AO ASNOH LV ADONAYAANOD
vl 31V1d Oll
NILA 71Na
ASOTIONHLA NVOIYMAWYV
Hj3O Nnvsayna
(0061) DNILSSAYVH YALAY Q1AIsANYOD VYdOOOD
St 31V1d Ol! NILE1I1Na
ASOTONHL]A NVOIYSWY 4O NvaYNna
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 16
5 eis :
“98 ate,
COCOPA WOMAN GRINDING CORN ON METATE (1900)
(0061) ALYS3dOuUd TIWNOSY3d SIH Iv AO NOILONYLSAG GNV YSANMO So NOILVW3YD YaLlsayV ONITIAMG VdO90D AO SNIVWSY
4t 3iV1d Ol} NILaIINg ASOTIONHL]A NVOIMAWY AO Nvayna
cc6l ‘VWNNVH3L MNVYUHA “9 OO61 ‘VNNVHAL MNVYY “2
81 AlVv1d Oll NILS11INGA ASOTNONHLA NVOIMAWY AO NVvaynsa
BUREAU OF AMERICAN ETHNOLOGY BULELCERIN 110) (PEATEs
a. IRRIGATION DITCH NEAR COCOPA DAY SCHOOL WHERE SONGS WERE
RECORDED
b. STOCKADE FOR CATTLE AND SUN SHELTER NEAR COCOPA DAY SCHOOL
DENSMORB] YUMAN AND YAQUI MUSIC 9
were said to have the same “animal mark.” It was also said that
a “kind of record” was kept on rocks, some of which remain near
Laguna.
Hieroglyphics—The Yuma formerly had a system of communi-
cation by means of drawings. For example, a certain sign was said
to mean that an invitation to a certain sort of feast had been received
and accepted. This consisted of parallel vertical lines, each crossed
and recrossed by a curved line.
Paint.—F¥or the decoration of pottery a paint was made of mes-
quite juice that hardens on the tree, mixed with mineral earth. In
old times the Yumans daubed mineral paint on their clothing, resem-
bling a dye in patterns and splotches. The young Cocopa women
decorated their faces in elaborate designs. This custom was seen
while the Cocopa songs were being recorded, the
pattern on the face of one young girl being sketched.
(Fig. 2.) The pattern on the cheeks was in blue, | 5O2 6)
orange, and red; the pattern on the chin was en-
tirely in red, and a butterfly was painted on the Ay]
forehead. The decoration on the face was changed |
every day and sometimes during the day.
Tattoo—When a girl is about 15 years of age os
she is tattooed with straight lines on her chin. =n
(Pl. 5, b.) If thus tattooed she will “go straight TONS
to the spirit land when she dies,” but without the ty
tattoo “ her spirit will wander around.” Figur 2.—Decora-
Courting customs.—The playing of the flute by face bE Meoeeps
young men is noted in the description of that in- ee
strument. Katcora said the girls used to play the jews-harp to
attract the attention of the young men. One girl might play the
jews-harp alone or two or three might play it together. He said,
“Tf you are going along and hear this in some dark place you are
bound to go there.”
Preparation for marriage.—A girl was formerly taught household
tasks when she was young, and it was required that she be proficient
before she married. She must be able to prepare food, taking
grain and grinding it ona stone. She then winnowed it in a basket,
which must be held in a certain way so the chaff fell forward. Other
tasks must be skillfully performed. The girls usually married when
16 or 17 years of age.
A young man must be a good farmer and have in storage a sufli-
cient supply of watermelons, beans, pumpkins, and other vegetables
to last almost a year. |
At the present time parents occasionally “ recommend ” a young
man, whom the girl afterwards marries. It was said the arrange-
10 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
ment by the girl’s parents is made only “ for young girls who have
not been out to dances.” This indicates a general supervision by the
parents, without any compulsion.
Old language——The old songs of the Yuma Tribe are in an obso-
lete language, the words being repeated by rote. Mrs. Charles
Wilson said that she remembered the numbers in this language,
though she could not recall any words. The numbers counting up
to 88 were phonographically recorded by this singer.
Dreams.—The Yuman belief in dreams differs materially from
that of other tribes. (See p. 6.) Importance is attached to reticence
on the subject, and it is said “if a man tells his dream it passes with
the day,” meaning that its power will depart. Joe Homer once had
a dream in which he saw a mountain as white as snow, and at the
top there was something circling and throwing out sparks. A voice
commanded him to go to the top of the mountain. He went to the
top of the mountain and came down and the voice said, “ Well done.”
Homer told this dream to a medicine man, who said, “ You have lost
the power of your dream by telling it. Everyone knows it now.
The power of that dream will never come back to you.”
Hunting customs.—The Yuma sometimes held what was called a
“burning hunt.” They found a thick brush, burned it, and waited
with bows and arrows to shoot whatever small animals ran from the
fire. For this hunt they wore sandals with soles of heavy hide.
Belief concerning the dead.—It is said that four days after death
the spirit takes a road toward the west until it comes to a place where
its relatives who have previously died are waiting. They take it
into a house and keep it four days. In that place it is early morning
when the sun is setting here, and every day, early in the morning,
the spirit is taken to a place where water is sprinkled on it, after
which procedure it is bathed and incensed. The spirit is then free
to go among its friends, who speak a different language, but live in
about the same manner as people on the earth. (See Cremation and
Karok.)
War customs.—The principal enemies of the Yuma were the Mari-
copa, who lived toward the north. They seem to have had no war-
fare with the Papago, their neighbors to the east. Their weapon
was a very heavy club about 15 inches long, made of wood. (PI. 20)
The circumference of the head of the club was a little more than the
grasp of a man’s hand, and the thickness of the head was the width
of a man’s fingers. The stroke of the club was upward, directed
toward the chin, and the weapon could be used with deadly effect,
whether grasped by the handle, or, in closer conflict, held by the
end.
The following information was given by Charles Wilson, who
said that no songs were sung by a war party before its departure.
DENSMORD] YUMAN AND YAQUI MUSIC TE
The warriors left the village quietly, all demonstration being
reserved for their return. The medicine men who went with the
warriors, however, had songs which they sang when treating the
wounded. Many of the arrows were marked with messages. Such
an arrow could be shot over the heads of the enemy and its message
would summon help to a war party that was hard pressed. With
the warriors were men who could “ sing and bring on a sand storm.”
Such a song was preceded by a speech known only to the man making
it and was immediately followed by the coming of the storm. These
were “ Lightning songs.” (See p. 111.) When near the enemy the
Yuma warriors disguised themselves by rolling in mud and then in
sand. This caused their bodies to resemble the ground so closely that
they could either work themselves forward without being seen or
could lie motionless without attracting attention. It was said that
on one occasion two scouts started from the vicinity of Yuma and
went toward Ottman flat. One of them saw a cloud of dust anu
knew that the Maricopa were approaching. He disguised himself
and lay down next the brush beside the trail. The enemy passed
without seeing him. Their leader was talking and the scout heard all
he said. After the Maricopa had passed the scout carried the news
back to his war party.
When an enemy had been killed it was the custom for four or five
men to go with the medicine man who was to remove the scalp. This
was a difficult task, as the skin of the entire head was removed. The
informant said, “Anyone can see that if an ordinary person were
to remove the skin it would not keep its shape.” On reaching the
body of the slain enemy the warriors circled around it and sang.
Unfortunately all the songs of war were said to be lost, as it is many
years since the Yuma went to war. The warriors stopped on the
north side of the body, then on the west, south, and east sides, return-
ing to the north side. The medicine man shook both legs of the
corpse and rubbed them downward, then took the corpse by the legs
and swung it around with the feet toward the north, west, south,
and east. He dragged the body about a yard toward the east, stooped
down, and put his face against that of the corpse as he sang certain
songs. Then he began to “ massage ” the face of the corpse to loosen
the skin. He dragged the body three times toward the east, thus
making four stops, then he thrust his hand down into the ground,
got some fine white sand and rubbed it on his face and hands, after
which he seated himself beside the corpse and began his work. The
first cut was from the inner corners of the eyes down to the chin,
then around the neck. He removed the skin of the entire head with
the ears attached. The warriors crowded around him as he swung
the scalp to the height of his chest and dropped it on the ground,
then he swung it a little higher and dropped it again. This was
12 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
done four times, the medicine man finally lifting it as high as he
could reach, while the crowd yelled at each elevation. ‘The journey
from the enemy’s country usually required two days and a night.
Some work on the scalp was done while the war party was returning
and the work was continued after their return. Sand was rubbed
on the inside of the hairy part of the scalp and the skin was treated
like buckskin to soften it.
By the time they reached home the soft part of the ears had
decayed and the medicine man “smashed” them in such a manner
that they became dry; then he took a certain sort of willow bark
and made a wrapping for the hair, leaving the rest of the head
exposed. The warrior who killed the enemy put the scalp on the
wall of his house and slept directly under it. In the course of two
or three days the warrior found that the spirit of the slain enemy
was going about, and he whispered to the spirit in the dark, telling
him that the people around him were his friends and relatives, living
close by, admiring him, and thinking of him every day and night.
It was said this procedure usually “ quieted down the spirit.”
Preparations were then begun for “ feasting the scalp ” and for the
victory dance. The warrior had a certain kind of pole made, about
4 feet high, for mounting the scalp. He took the scalp out during
the night, washed it and combed the hair, and put “ white chalk
paint ” on the face and hair, applying it with the palm of his hand.
The manner of cutting the skin left an opening from the chin to the
eyes, where the nose and mouth had been located. This slit was
drawn together, the scalp was put on the pole, and the skin of the
neck tied around the pole. In two or three days the warrior gathered
all the people at his house and “ feasted the scalp,” or the “ spirit
of the enemy,” and as long as the scalp was exposed to view the
people came and feasted. ‘The warrior repeated this every few days
for atime. After this feasting was concluded the scalp was wrapped
and again placed on the wall. Sometimes eagle feathers or other
important feathers were placed with it. In the meantime the war-
riors who had killed enemies were subject to strict regulations. On
the way home they were not allowed to touch their bodies with their
hands but must use “scratch sticks” for that purpose. On arrival
they must not go near their families for more than four days, though
they might stay in the same house.1* Every morning the warrior
went early and jumped in the river; then he ate thin cornmeal gruel,
vomited it, and drank water “to wash out his stomach.” He ate
nothing more during the day.
The victory dance was started by from one to three specially
distinguished warriors who set the day for the dance, cleared a
Cf. Papago Music, Bull. 90, Bur. Amer. Ethn., pp. 187—190.
DENSMORE] YUMAN AND YAQUI MUSIC 13
space of ground, and made the arrangements. They “had a man
there to sing songs in their honor,” but it is said there is no one now
living who knows these songs. The narrator (Charles Wilson) said
he saw the dance and heard the songs when he was a young man.
The owner of the scalp took it to the place where the victory dance
was in progress and stuck the pole in the ground. This was a signal
that all the old men and women must join the dance, and at certain
songs one of the dancers would take up the pole and carry it in the
dance and return it to its place, after which another would do the
same. Men, women, and young girls could carry the pole. The
scalp was thus carried in the dance all night and the owner took
it back to his home in the morning.
It was said to be a remarkable fact that no one could carry the
scalp to or from the dance except the warrior to whom it belonged.
It was said that frequently an “ordinary person” was sent to get
a certain scalp and take it to a dance that was in progress. He tried
to enter the house where the scalp was hung and if he succeeded in
entering (which few were able to do) he wrapped the hair of the
scalp tightly around his hand and started for the dance. But he had
traveled only a short distance when he discovered that the scalp was
no longer in his hand. He returned to find it, and to his surprise
the scalp rose from the ground and stood upright, causing the man
to scream with terror. While the scalp was in that position no one
could touch it except the man to whom it belonged. The owner of
the scalp could hold feasts for it whenever he desired, and take it
to victory dances. When he died or was killed in war the scalp was
“ drowned ” by throwing it into the river. If the warrior who took
a scalp was killed before the party reached home the scalp he had
taken was similarly “drowned.”
Legends and song cycles—The characteristic musical form among
the Yuman tribes consists of cycles or series of songs which are inter-
polated in legends. (Cocopa, sayo’, song; Yuma, scava’rr, song;
scava’rrhuhai, singer.) Some of these legends can be related in about
nine hours, while others are longer. The story is told in the com-
mon language of the present time and the songs, which are sung at
intervals, are in the old language which is not understood by any-
one, the words of the songs being learned with the melody and sung
by rote. A general knowledge of their meaning is received by
tradition. The words are said to embody a part of the narrative
but they are not descriptive. The legend is usually concerning a
journey and the songs appear to contain the choice bits and delight-
ful little episodes, while the details of the journey are carried by the
narrative. The songs appear to represent the poetry and the nar-
rative the prose in a varied performance which gives great pleasure
to these Indians.
14 BUREAU OF AMERICAN ETHNOLOGY [BULD. 110
It was said that a good story-teller would tell these stories when-
ever requested to do so. Thus at a gathering anyone might take up
a collection, provide the basket and sticks, tobacco and some food,
and get him to tell one of the stories. On such occasions the story-
teller leads the singing and pounds on the basket, and those who
know the songs “ help him” by singing with him.
According to Kroeber, the journey described in these stories is
almost invariably that of a single person or a pair of brothers, with
or without a following. The journey is described as occupying two
or three days, but is really a timeless life history of the hero or
heroes, beginning with their coming into existence and ending with
their transformation into an animal or landmark. The same au-
thority states that “The plot is evidently a framework on which
episodes .. . can be hung. We are thus face to face with a style
of literature which is as frankly decorative as a patterned textile.”
“The same cycle is often sung quite differently by men not in any
way connected with one another and the story appears to vary to
an almost equal degree.” The variance is said to consist in the
selection of different minor incidents “with frequent recourses to
remembrances of other singers and even diverse series.” ?* For these
reasons it was difficult, if not impossible, to secure an exact rendering
of a cycle similar to the legends and their songs recorded among the
Papago. It will be noted that the story of Pokohan is a combi-
nation of narratives by two men, and that the legend of the death
of the Superman was recorded among both the Cocopa and the Mo-
have, the differences in the versions being noted. (See pp. 48-66, 85-
100.)
The Yuma legends with songs enumerated to the writer were as
follows:
. Tcowi’ts (Bird) (songs 1-3).
. Sakwa’taxo’x (not recorded).
. Ata’xmaili’ (songs 4-14).
. Hurau’ (Lightning) (songs 44-56).
. Akwa’k (Deer) (songs 57-82).
. Hanyi’ (Frog) (one song recorded but not transcribed).
. Anya’ (Sun) (not recorded).
Dancing took place only with the Deer songs.
The legends that were studied are described in connection with
their songs. Joe Largo, who recorded a song of the Frog story (not
transcribed), said it belonged to his father. In explanation he said,
“The words represent the frog as starting on a journey toward the
east and saying ‘I will go east. I will get to Omi’kuda.’” No at-
tempt was made to record all the songs of any cycle and the singer
I Aap WON
1 Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn,,
pp. 755, 756, 757, ’
DENS MORE] YUMAN AND YAQUI MUSIC 15
was asked to choose a number from the portions sung at different
parts of the night. It was the custom to divide the night into two
parts (before and after midnight) and each half of the night had
its songs. There was an order of the songs within these parts, certain
songs being sung early in the evening, at about midnight, and “along
toward morning.”
In his description of Mohave customs, Kroeber states that “The
Mohave have 20 narrative song cycles which they claim as their own,
besides at least 10 more sung by doctors. Seven of the 20 are shared
by one or more other tribes and are likely to be of foreign devising.
The remainder, so far as known, are purely Mohave.”
The number of songs in a Mohave cycle is indicated by his state-
ment that “ One narrator sang 33 groups of from one to five songs,
107 in all, in reference to the Nyohaive myth concerning war, which
was sung without gourd rattle, the singer standing and leaning on his
stick. Another series contains 169 songs in 83 groups.” '* Only one
Mohave cycle received the attention of the present writer, this being
outlined briefly in connection with song No. 39.
Dances.—The Yuman tribes appear to have few dances for pleas-
ure. (Yuma, etcima’k, dance.) Dancing formed part of the Memo-
rial ceremony and it was said that several dances were held before
a cremation and a Memorial ceremony. The Deer dance and Corn
dance were the only dances described in which the dancers encircled
the musical instruments that accompanied the songs. In one dance
the motion was in an elliptical path in front of the singers (p. 73)
and in another (pp. 185, 186) the dancers and singers were in two
parallel lines pushed backward and forward in the manner of the
Ute bear dance described in Bulletin 75, page 57.
THE YAQUI TRIBE
A linguistic family other than Yuman is represented by the Yaqui
and Mayo. ‘These are the chief members of the Cahita, a group
of tribes belonging to the Piman family and living chiefly in Sonora
and Sinaloa, Mexico. It will be recalled that the Piman family
has been represented in the present work by the Papago. (Bull.
90.) The name Yaqui is said to mean “ chief river,” referring to
the Rio Yaqui.’ Until recently the tribe lived along both banks
of this river in Mexico. The first notice of the tribe is probably
contained in the narrative of a Spanish expedition in 1531. The
Yaqui defended themselves against attacks by the Spaniards during
successive centuries. Perez de Ribas, a missionary among them
18 Op. cit., pp. 761, 763, 785.
144Vhe data concerning this tribe is condensed from the Handbook of American Indians,
Bull. 30, Bur. Amer, Ethn., pt. 1, pp. 184, 185; pt. 2, pp. 991, 992.
67183—32——3
16 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 |
between 1624 and 1644, says they were then agriculturists, culti-
vating not only maize but also cotton, which they made into cloth,
especially into the mantles worn in that region. They buried the
dead in graves. According to Dr. Ale’ Hrdli¢ka (Amer. Anthrop.,
vi, p. 8, 1904), “ There is no organization among the Yaqui except in
that part of the tribe which lives practically free... neither do
they appear to have any secret societies.” At the present time many
Yaqui live in southern Arizona and find employment on farms.
Numerous Mayo songs were offered for recording, but only one
is presented, No. 96. The word Mayo means “ terminus,” because
the Mayo River was the dividing line between this tribe and their
enemies. At an early time the Mayo occupied 10 towns and were
the most populous of all the tribes of Sinaloa. They cultivated the
soil, raised sheep and domestic birds, and made woolen shawls. The
Mayo were peaceable people, in contrast to the warlike Yaqui, and
their language differs only in dialect from the language of the
Yaqui.
YUMAN AND YAQUI SONGS
The material under consideration comprises the following groups:
Yuma, 80 songs; Cocopa, 30 songs; Mohave, 4 songs; Yaqui, 15
songs; Mayo, 1 song.
The Yuman tribes are represented by a variety of songs, while
the Yaqui and Mayo are represented only by songs of the Deer
dance cycle and a few modern songs which show a Mexican influence.
The musical customs of these tribes are peculiar, and for that
reason an observation of the singing at gatherings of Indians was of
unusual importance. Many Yuma songs, not recorded, were heard
during the cremation ceremony, the Cocopa songs were heard during
a gathering of the tribe near the Mexican border, and the Yaqui
songs during a celebration of Good Friday, near Tucson, Ariz., in
1920, and during the celebration of Thursday, Friday, and Satur-
day of holy week at Guadalupe Village, near Phoenix, in 1922. On
each visit to the Yaqui villages the writer remained for several
hours beside the singers. More than 160 Yuman and Yaqui songs
were recorded, but the number presented is 130. The remainder
were studied and found to contain the same peculiarities.
YuMAN Songs 2°
The principal Yuman songs are in cycles. There is dancing in a
few but not all of these cycles, which require an entire night for per-
Musical Style, Jour. Amer. Folk-Lore, vol. 41, No. 160, pp. 1838-231, April-June, 1928.
pENSMORD] YUMAN AND YAQUI MUSIC Lé
songs. In the Corn dance, Memorial ceremony (Karok), and prob-
ably in other classes of songs, the songs are in pairs, the second having
no words. In a majority of the recorded songs the words are in an
obsolete language, which occurs only in the songs, and the meaning
of which is known only to the singers. The meaning of the Karok
songs is lost entirely. The only way for a man to learn the old songs
is to be a “ helper ” when an old man who knows the songs is singing
them. As the singing usually continues all night for several consecu-
tive nights it. is possible for the “ helpers ” to learn the songs in this
manner. It is said that no songs are being composed or received i
dreams at the present time.
The Yuma announced the subject of a song after it had been sung.
The Sioux announced the subject before singing the song. The
Chippewa made no announcement.
Unusual difficulties surround the transcription and analysis of
Yuman songs. The form of a melody is determined to some extent
by the words of the song, and the present material contains many
songs connected with legends and embodying part of the narrative.
The words of these songs, as already stated, are in a language which
is obsolete, the singer repeating the words by rote. The integrity of
these words was proven by the rendition of No. 109 by a Cocopa and
a Yuma, the words as well as the melody being the same on the two
phonograph cylinders. It is not practical to undertake the placing
of such words or syllables beneath the notes of a transcription.
These melodies, although connected with narratives, differ from the
legend songs of the northern Ute which are classified as “ rudimen-
tary.” (Cf. Bull. 75, Bur. Amer. Ethn., pp. 200-204.) The Ute In-
dians stated that these songs were improvised, yet certain songs con-
tain a characteristic of the animal mentioned in the story; for ex-
ample, the slowness of the bear and the agility of the prairie dogs.
An interesting and somewhat different sort of narrative song was
recorded by the Tule Indians of Panama. (Cf. Music of the Tule
Indians of Panama, p. 3.) The Tule songs were improvised, like the
Ute songs, but each had a distinctive rhythmic phrase repeated often
and reflecting the character of the song.
The Yuman songs appear to be in a form that is intermediate be-
tween the Ute of northern Utah and the Tule Indians of Panama.
Many of these songs consist of several divisions designated as “rhyth-
mic periods” (see table 17, p. 209), and there are rules for the repe-
tition of these periods. On studying the phonographic records we
find, however, that the opening phrases often were sung a larger num-
ber of times than prescribed by rule. Eleven repetitions of the open-
ing phrases were counted in some songs, but the transcription con-
tains only the usual mark for repeat. Furthermore, a cylinder often
18 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
contains a seemingly impromptu repetition of short phrases in irreg-
ular order, after the rendition shown in the transcription. The
“rules” for the form of these songs are interesting, but apparently
were not considered binding upon good singers. A study of varia-
tions from the rules was not undertaken, the present work being
concerned with the more constant phases of the music.
In many instances a long duration of singing was transcribed in
addition to the material presented, and no orderly sequence of phrases
could be discovered. This portion of the cylinder appears to contain
an impromptu use of the previous thematic material and is noted in
the descriptive analyses. It is said that the Karok songs, after being
sung four times, could be ended at any point in the melody, and in
those songs the ending of the transcription is at a measure satisfac-
tory to the ear. This is believed to be the end of the song. An
arbitrary ending occurs also in the transcriptions of certain Yuma
songs recorded by Wilson, and in one Mohave song. Four of
these are Wilson’s personal songs for the treatment of the sick, and
the Mohave song was used for the same purpose. In this connection
we recall that in other tribes it is a frequent custom for doctors to
disguise their songs as well as their remedies, making it difficult, if
not impossible, for others to learn them. The medicine songs of
Wilson bear a peculiar resemblance to the Tule songs already cited.
In one of these songs (No. 42) the entire cylinder was transcribed.
Wilson was singing when the end of the cylinder was reached, with
no evidence of being near the end of his performance. The other
songs with this designation are legend songs recorded by Wilson.
The singers realized that it was impossible to record a complete per-
formance of each song, so they endeavored to condense the perform-
ance into the space of a phonograph cylinder.
The characteristic form of Yuman songs, as indicated, is a “ period
formation ” with one, two, or occasionally three long periods and a
short period containing the more pleasing part of the melody. This
peculiar form was first noted in the songs of the Tule Indians of
Panama. It occurred with frequency in 130 Acoma, Isleta, and
Cochiti songs studied by the writer, and was also found in the songs
of the Big Cypress Swamp Seminole in southern Florida. In each
tribe the songs having this form were said to be very old. In de-
scribing the form of Yuman songs the interpreter said, “ There is
always a chorus near the end of a song that goes up higher.” He
said it is the custom that “the song shall be sung four times and the
chorus twice,” also that “if the chorus is sung a third time the ending
is on a high note.” ‘The term “ chorus ” is derived from a knowledge
of the white man’s songs and indicates a pleasing part of the song
but not a change in the number of singers. It usually contains about
pENSMoRB] YUMAN AND YAQUI MUSIC 19
eight measures and is not repeated. The other portions of the song
are sung from 2 or 3 to 11 times and are accurately repeated. Em-
phasis should be placed upon the fact that if a phrase in the tran-
scription is repeated it is given with exactness, showing it is clear in
the mind of the singer, though other phrases in the song may bear a
close resemblance to it. The part of the melody designated as the
“chorus ” will be recognized in many transcriptions. It is the second
or third period and is higher in pitch and more pleasing in melody
than the preceding portion. In some instances the return to the
earlier portions of the song is indicated as a “ repeat.”
The melodic form of these songs is in sections or periods which
are designated by the letters A, B, C, and D. Rhythmic units occur
in many songs and are designated by brackets above the notes, as in
the songs previously transcribed.
A peculiarity found in the songs of Yuman cycles and also in the
Yaqui cycle of the Deer dance is a pause of indefinite length, desig-
nated as “ pause ad lib.” The duration of this pause did not con-
form to the metric unit of the song but was usually about a measure
and a half or two measures. This pause occurs about halfway
through the transcription, but is nearer the end of the performance,
as the repeated portion in the first part was sung at least four times.
A further peculiarity of these songs lies in the frequent occurrence
of rests, the tone before a rest being ended in a definite manner.
The Indian tribes under observation differ in the use of a rest in
their songs, many singers being able to take breath in a manner
which is imperceptible to a listener. A rest occurred in 13 per
cent of 340 Chippewa songs, in less than one-half of 1 per cent
of 240 Sioux songs, in more than 11 per cent of 110 Ute songs, and
in 19 per cent of 110 Mandan and Hidatsa songs. (Cf. Bull. 80,
p. 4.) When rests occur in Indian songs they frequently are in the
middle of a phrase, not at the end of a phrase or a word, for the
purpose of taking breath.° Songs recorded by younger Indians
occasionally contain short rests which can be identified as pauses
for breath, partly because the location of the rest differs slightly
in the several repetitions and also because the tone preceding the rest
is not ended with crispness. <A rest in the old Indian song occurs
uniformly in all renditions and is given with careful clearness.
No songs are being composed by the Cocopa at the present time.
Probably this is also true of the Yuma. Mention has been made
of a resemblance between Yuman and Pueblo songs. <A further
resemblance consists in the gradual changing of the pitch during
18The same peculiarity has been noted in the musie of India. ‘‘ Rests are seldom
written ...in any of their songs, at any rate not, as we should, on account of the
words. ... They appear to take breath when they want to take it, not at the end of
words.” (Fox Strangways, Music of Hindostan, pp. 192-193.)
20 BUREAU OF AMERICAN ETHNOLOGY (BULL, 1109
the singing of a song. This has occasionally been noted in other
tribes but regarded as incidental, or a personal idiosyncrasy, since
an overwhelming majority of the phonograph records show a main-
tenance of pitch on the principal melody tones which would be
creditable to a singer of our own race. One singer of the Yuma
Tribe (Charles Wilson) gradually lowered the pitch during the
renditions of some of his songs. This lowering of the pitch can
not be shown graphically unless a pitch indication is placed before
practically every note. In the belief that such signs would add to
the difficulty of observing more important characteristics this peculi-
arity is mentioned in the descriptive analysis. The former custom
of keeping the transcription as simple as possible is continued in
the present work.
A peculiarity of Chippewa music was the difference in tempo of
voice and drum, a comparative table showing that the tempo of voice
and drum was the same in only 36 per cent of 214 songs recorded with —
accompaniment. (See Bull. 53, Table 22, p. 33.) As an interesting
contrast we note that the tempo of voice and drum was the same in
89 per cent of 65 Ute songs recorded with accompaniment. (See
Bull. 75, Table 22, p. 51.) In Yuman songs the tempo of voice
and drum or rattle is always uniform and the two are synchronous,
but the rhythm of the accompanying instrument is not always the
same during the entire song. In a majority of instances the rattle
was shaken rapidly before the song was begun and during its opening
measures. The change to a rhythmic shaking of rattle was not so
abrupt as in the Pawnee songs (see Bull. 93, p. 29), but the rhythm
in many songs was not clearly defined until measures 6 and 10.
Several examples of interrupted rhythms in drum or rattle are
transcribed. ‘The accompanying instrument was discernible through-
out the entire performance.
An important peculiarity of Yuman songs is the variety in the
rhythm of the accompaniment. ‘The songs previously recorded have
been accompanied by drum or rattle in a few simple rhythms or in
strokes of equal force without rhythm. Thus 38 per cent of 475
songs of various tribes were accompanied by rattle or drum in unac-
cented quarter or half notes, the beat of the drum corresponding to
these note values in the melody. (Bull. 80, Table 18, pp. 25-26.)
The Yuman songs show a remarkable variety in the form as
well as the rhythm of their accompaniment, the songs being accom-
panied by percussion, by rattles, by a nasal grunting, and by pound-
ing of the feet, each form of accompaniment being used with a
certain sort of song, or with a certain cycle. The basket drum (see
p. 24) may be beaten with the palm of the hand, with one or more
DENS MORE] YUMAN AND YAQUI MUSIC DAN
}willow sticks, or with one or two bundles of dry arrowweed. The
attles comprise a small gourd rattle, a large gourd rattle, a dew-
claw rattle, and a rattle made from a spice box. The nasal grunting
is used with game songs. In this peculiar accompaniment the
breath is forced into the nose by a spasmodic contraction of the chest,
producing a sound resembling “ huh, huh,” in exact time to the music.
Songs connected with the cremation or the Karok are accented by
stamping first one foot and then the other on the ground. What
may be termed a “ foot accompaniment” is used also in the “ Human
being dance.”
In the following list it will be seen that the basket is struck with
the palm of the hand in only two song cycles. The singer of the
frog songs held a willow stick in his right. hand and struck the
basket simultaneously with the stick and with the palm of his left
hand. The accompaniment of the Deer dance songs is described on
p. 181. Songs of all these cycles were recorded.
Legend Accompaniment
worneernine a pird . = 22>. Basket struck by bundle of arrowweeds.
Concerning a coyote______________ Basket struck by bundle of arrowweeds.
Woncerning a) deer te Basket struck by palm of hand and willow
sticks.
Concerning the lightning__________ Basket struck by willow sticks.
Goncerning the frog_-—___-__4»___y; Basket struck by palm of hand and willow
sticks.
MOLNCANCG=. == ean. re a Large rattle.
SOCIAL GANGES seid. 2 deb lt Sat) Large rattle.
The large gourd rattle was used for all social dances and for
the songs called “ Bird songs,” which formed a class by themselves.
It was said that the last man who knew all these songs died a few
years ago. The singing and dancing lasted all night, and it was
said there were usually five or six divorces after this dance. “ Bird
songs” were sung also by the Cocopa and the Mohave. A small
gourd rattle was used by a medicine man in his personal songs.
The “ spice-box rattle ” was used in the Karok and Human Being
dance, and the dewclaw rattle was used only in the cremation
ceremony.
In tribes studied prior to the Papago there did not appear to be
a prescribed degree of loudness for the singing of certain songs.
In a dance of the Cocopa there was a special mannerism for the
songs that were sung in the early evening (Nos. 100, 101, 102).
These songs were always begun softly and then increased in volume.
The songs of the Pokohan legend were always sung very softly.
Other peculiarities of Yuman songs are discussed in connection
with the comparative tables of analysis on pages 37-40.
22 BUREAU OF AMERICAN ETHNOLOGY [BULL. 11¢
Yaqui Sonas
The Yaqui songs herewith presented were recorded in Guadalupe
village, near Tempe, Ariz. The Yaqui came from Mexico and too
up their abode at this place many years ago, but are not under the
Government of the United States. They are governed by a chief
who has several captains under him and a policeman who appears
very efficient. The village is set in the midst of the desert and is
a compact little settlement, the houses being set in rows, along two
extremely wide streets. (Pl. 21, a, 6.) The Yaqui interpreter,
Loretto Luna, and his child are shown in front of his house. (PL.
21, c.) The village well, operated by a windmill, is in the middle
of one of these streets. There are fences in front of most of the
houses and narrow alleys in the rear. The fences are made of the
ribs of the saguaro cactus, set upright and fastened together, usu-
ally bound with wire. In some instances the fences are about 4 feet
high with a gate and the cactus stalks are placed so close together
that they form a stout paling. The streets and yards are of hard |
bare ground and reasonably clean. No attempt at cultivating the -
ground was observed. The houses were varied in structure and _
usually consisted of two or more inclosed rooms and an “ outdoor
room ” with roof but with the sides only partly inclosed, leaving
one side or parts of two sides open. The better class of houses were
of adobe with roofs of earth resting on cactus ribs; others were of
cactus ribs calked with adobe and others had sides formed of over-—
lapping pieces of tin or wood, these pieces having the appearance of
having been gathered from rubbish heaps.
The population of the village may be estimated at about 150. The
men earn a scanty living by hauling wood or working for farmers in-
the vicinity. They are evidently very poor, but the atmosphere of |
the village is that of content and good order. Father Lucius, a_
Franciscan missionary monk, has built an adobe church in the village
and established a day school. Near the church is a chapel, in front
of which the Deer dance was given in 1922. (Pl. 21,d.) The school
teacher is a woman who does not live in the village nor go among’
the houses to form the acquaintance of the people. She is, however,
successful in maintaining the work among the children, as is shown
by the enrollment of more than 50 pupils. Thus the thought of the
future members of the tribe is being formed along proper lines, but |
the customs of the older people are not under Strasse
The songs were recorded in a bakehouse adjoining the house of thes
policeman. (Pl, 21, a.) A corner of the bakehouse is seen in the
illustration which aye the house and one of the sides of the “ out-
door room.” The bakehouse had one small window and an opening
into a huge adobe oven resembling a kiln, in which the bread was
ENS MORB] YUMAN AND YAQUI MUSIC 23
yaked. The dome of the oven can be seen at the right. The room
as furnished only with a long table on which the bread was mixed.
[he phonograph was placed near the door, and about 30 Indians
yathered outside to watch the process of recording and listen to the
‘esults. This made it impossible to make an intensive study of the
Jeer dance and its history, but the condition was unavoidable. The
hhree singers who made the records represented the two sorts of
Yaqui music, and the interpreter was Loretto Luna, an intelligent
Yaqui who spoke excellent English.
Yaqui music is of two sorts, one of which appears to be native and
he other influenced by Mexican or Spanish. The former is accom-
yanied by native instruments and the latter accompanied by the
vuitar, violin, harp, or other stringed instruments. The people
nsist that the latter sort of music is also Yaqui and that “ Mexican
‘ongs are different.” The pleasure of the young men in their musical
yerformances was shown by the following incident: The writer, on
roing to the village one morning, heard concerted music in one of
the houses. In reply to an inquiry a Yaqui said, “The young men
ire playing. They often play like that all day.” The house was of
idobe with two rooms and the musical performance was in the second
‘oom with the door closed. ‘The young men consented to open the
loor, revealing a room that was lighted only by a very small window.
In the semidarkness several young men were playing the violin, one
double bass adding to the effect. ‘They were playing one tune after
another without printed notes and apparently improvising part of
the time. The music was pleasing in style, somewhat plaintive, and
resembled that heard at the “ Mexican dances” in other parts of
southern Arizona. The musical instruments used at the Good Fri-
day celebration at Tucson are mentioned on page 27.
As already stated, two distinct types of songs are now used by the
Yaqui, the old songs which are said to be strictly native and the mod-
ern songs which show a Mexican influence. The Deer dance songs
(Nos. 83 to 95) are examples of the old songs and were accompanied
by a gourd rattle. A Mayo song of the same dance is presented (No.
96). Two examples of the modern songs (Nos. 129, 180) were ac-
companied by the guitar. Other modern songs were recorded, but
the resemblance between them was so marked that the songs here pre-
sented were considered sufficient.
Several Yaqui Deer dance songs contain the long pause which
characterizes the Yuman song cycles, but they do not have the same
period formation. The Mayo song was recorded by a Yaqui and
contains no striking peculiarities. Other Mayo songs were offered
but not recorded.
In the modern Yaqui songs we note a fluent melody and a glissando
in both ascending and descending progression.
24 BUREAU OF AMERICAN ETHNOLOGY [BULL. 11
The transcription of Yuman and Yaqui songs is on the pitch o
the phonograph record except that songs having F sharp as thei
keynote are transcribed in the key of F in order to simplify the
notation.
A limited number of songs are classified as irregular in tonality
as they appear to be pure melody, without an apparent keynote.
YUMAN MUSICAL INSTRUMENTS AND THEIR USE
The only drum used by the Yuman tribes is a basket (kwénxo’),
struck with implements or with the palm of the hand. As among the
Papago, the sound of this accompaniment was not sharp enough for
phonograph recording, so a pasteboard box was substituted and
beaten with a small stick during the recording of the songs. The ~
basket is usually obtained from the Papago, as the Yuma are makers —
of pottery rather than of baskets. As stated in Papago Music (Bull.
90, p. 8), this is an ordinary household basket, overturned on the |
ground when in use as a drum. Such a basket obtained among the |
Papago was 161% inches in diameter and 51% inches in depth. The ©
basket used in recording Yuma songs was 13 inches in diameter and 4
inches in depth. The Papago struck the basket with the palms of —
the hands or stroked it with a short, flat stick. The Yuma beat upon ~
the basket with the palm of the hand and also with willow sticks and
bundles of arrowweed. (PI. 22.)
The willow sticks (nyima’ lwakwit plu.) used with the basket were
said to be two “ spreads ” from the thumb to the end of the second
finger in length and about an inch in diameter, and a singer held a
pair of the sticks in his right hand. The sticks were found to be 15
inches long.
The bundles of arrow weed (i’sav, arrow weed; isa’vaota’p, bundles
of arrow weed) were 2514 inches in length, tied near the butt end
where the bundle was 114 inches in diameter. The bundles used by
Golding were examined and found to contain 10 rods or stems of the
weed in one bundle and 12 in the other. A singer who uses these
arrow weeds a great deal has a pair of bundles which he carries with
him wrapped in a cloth when he expects to sing. Golding followed
this custom when coming to record his songs. At present the princi-
pal singer and his assistant each have one of these bundles. In for-
mer times the principal singer had two assistants.
The number of baskets depended upon the number of dancers. If
the circle were small and only one basket were in use, two, three, or
four men might beat upon the basket with willow sticks, but only two
could beat it with bundles of arrow weed, as they were so much
larger. ‘Three baskets were formerly used in the Deer dance (see
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 20
YUMA WAR CLUB
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 21
a. HOUSE WHERE SONGS WERE RECORDED
b. HOUSE IN YAQUI VILLAGE
c. LORETTO LUNA AND CHILD IN FRONT OF HIS HOUSE
d. CHAPEL IN FRONT OF WHICH DEER DANCE WAS GIVEN
SHOILSWNYQC SV GASM GSAM MOeXV AO SATIGNNG ANV SHOSILSWNYCQ GOOMNOLLOD HLIM ‘WN SV G3aSN LAMSVg
enutatl
Wea yr Lb Ny
ay aye gy lay
Ree
Mie’
Sn igen,
>
ee 31lv1d Ol! NILAaTINA ASDOTIONHLA NVOIMAWY AO NVvayHnNEG
a
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 23
COCOPA GOURD RATTLE
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 24
MOHAVE GOURD RATTLE
SALN1TA WOILYSAA GNV SASYHSASNVAL VWNA
Se ALV1d OL! NILATINGA ASOTIONHILA NVOINMAWYV AO NVayNa
DENSMORD] YUMAN AND YAQUI MUSIC 25
p. 155), and four singers were seated at each basket, one of them
being the leader and using the bundles of arrow weed.
The Yuma, Cocopa, and Mohave used a gourd rattle (Yuma,
axma’l; Cocopa, hulima’). The Cocopa songs were recorded with a
large gourd rattle painted red. (Pl. 23.) A smaller gourd rattle
was used by the Mohave when singing the Bird songs. (PI. 24.)
The Mohave rattle was decorated with a pattern of diagonal lines
which was said to have no meaning. Inside this rattle were about
thirty tiny balls of pottery made especially for this purpose and baked
in the fire. The handle was of ironwood, fastened in place with gum
made by mashing and cooking arrow weed stalks and adding red
paint. This rattle was also used with the Tamant songs.
The “ spice-box rattle” was made of a small tin box pierced by a
stick which formed the handle. In the box were BB shot. These
rattles were used in the Human Being dance and were shaken by 8 or
10 men who sat in a row on a bench. The leading singer sat in the
middle and used a rattle with more shot in it, giving it a louder
tone. This is similar to the rattles made of thin wood or birchbark
and used by the Chippewa in the Midewiwin, or Grand Medicine
Lodge.
The dewclaw rattle used at cremations is described in connection
with that ceremony (p. 42).
A rattle consisting of a string of cocoons containing small pebbles
was wrapped around the knee of the leading Deer dancer. (See
pp. 155, 156.)
FLutTses AND THEIR Music
The legendary origin of the flute among the Yuma is described in
the chapter concerning the origin of the cremation (pp. 48-66).
The Yuma have two sorts of flute made of cane, commonly called
bamboo. (PI. 25.) These are the transverse (wilwil’axtii’) and the
vertical or end-blown flute (wilwil’télhuku’p). In making the for-
mer flute the natural divisions of the cane are removed in the entire
length of the tube and the “ mouthpiece” is formed by the player’s
lips, the instrument being held horizontally toward the right, and
the sound directed across the edge of the tube. Such a flute was
played for the writer. The performance was not recorded phono-
graphically, but the tones were those of a major third with its inter-
mediate tone. The phrases appeared to be repeated in irregular
order as in the usual playing on primitive flutes, and the rhythm
was that of double time. It was said that additional tones could
be played on other flutes of the same sort. The native names of
both flutes are based upon “ wilwil,” which is the name of a small
bird. It was possible to obtain the instrument, which is about 2714
26 BUREAU OF AMERICAN ETHNOLOGY (BULL, 110
inches long and has four finger holes, placed slightly nearer one end
than the other. These are respectively 11, 125¢, 141%, and 15 inches
from the end to which they are nearest, and the holes are slightly
smaller than in the vertical flute. It was said this flute could be
blown at either end. The player, George Escalanti, stopped the
holes with the first and second fingers of each hand.
In making a vertical or end-blown flute the natural divisions of
the cane are not all removed. One of these is left midway the
length of the cane for use in making a “whistle head.” Two speci-
mens of this flute were obtained and the music of one was phono-
eraphically recorded. George Escalanti (pl. 26, a), who made these
flutes, is commonly known as Captain George and is a man of
high character, respected by both Indians and white people. His
title is derived from long service as captain of Indian police on the
J Flute Melody No.4
(nik Ee aaa
TSS=a i VR a ES Lined a
a Bet Et a Ee ee 2 0 See or ee
ELD | Gs See SEES SS PST [SS ES TA
=
Yuma Reservation. The flute on which he played was without
decoration. The two which he made for the writer were decorated
with small brown dots. He said that the length of the end-blown
flute was “ three spreads of the hand from the thumb to the tip of the
second finger and about two-thirds more.” The length of the speci-
men is 28 inches. The sound hole is cut above the “ partition ” inside
the cane, midway its length. It is about 114 inches long and three-
sixteenths of an inch wide, and across the upper end is wrapped a
piece of brown paper secured by a string. ‘This covers about one-
fourth of an inch of the opening. The tone may also be controlled by
the player’s finger, partially covering the hole. Captain George said
that after cutting the sound hole he drew a line from the sound hole
to one end of the cane, placed the other end in his mouth as if to blow
it, and marked places for three finger holes where his fingers rested
most conveniently. ‘These finger holes are 434, 57%, and 7 inches,
respectively, from the “speaking end” of the flute.
In old times the Yuma had no love songs, but two or three young
men played these flutes in unison to attract the attention of the
AWILAWVSSAHLLVY WNYC GNV ALNIA ONIAV 1d INOVA “49 S3LN1TA ANVD ONIAV 1d (VWWONA) ILNVIW9OS9 ADYORD “)
9¢ 3A1VW1d Ol! NILSTINA ASONONHLA NVOIYAWY AO NV3aYHNa
I
(WdODOD) WV1D “9 (VWWNA) VHYOOLYyM ‘2
Ze 31V1d Oll NILS711ING ASOIONHL]A NVYDIXAWY AO NVSNNG
YOLVNOSSY SV GASM GHYNOD AIVWH GNV SHOILS ONIdSVY INDOVA
m
82 AlWwqd oOll NILa11Nge ASOTIONHLA NVOIMAWY AO NVvVsayNEa
BULLETIN 110 PLATE 29
BUREAU OF AMERICAN ETHNOLOGY
RATTLES
YAQUI
a. Used in Neer dance:
<=
pHNSMORB] YUMAN AND YAQUI MUSIC 27
young girls. It was said “the girls sat and listened, and marriages
had been known to result.”
Two consecutive records were made by George Escalanti, playing
the vertical flute. (Pl. 26, a.) In both instances the intonation was
generally what would be called “ good ” if produced by a manufac-
tured instrument. It is difficult to play a cane Hute, and the phrases
were at times disconnected but the tones were the same in all. The
first record shows a tone with the major second and major third
above it, played in various sequences; the second shows the same
tone with the minor second and minor third below it, played in
various orders. The records closely resemble those of the Papago
flute (Bull. 90, pl. 1, pp. 212, 218). Similar instruments are used
by the Kamia.1™
YAQUI MUSICAL INSTRUMENTS AND THEIR USE
Two types of musical instruments were heard in the Yaqui vil-
lage of Guadalupe, corresponding to the old and modern types of
music. The Deer dance was accompanied by instruments of both
classes. On the right side of the line of dancers were several violins,
while on the left were the old, native instruments consisting of half-
gourds placed on the surface of a pan of water and struck with a
stick, also placed on the ground and struck with a stick, and used
as a resonator for rasping sticks. (Pl. 28.) The leading dancers
carried rattles made of flat pieces of wood between which circular
disks were set in such a manner that they jingled. (Pl. 29, a.)
In a Yaqui house the writer saw a small harp of native manufac-
ture and heard it played. The instrument was said to be about 25
years old. It was 3 feet high, had about 30 strings, and was held
in a horizontal position when played, the lower end resting on a
brace which formed part of the instrument. The player was seated
and held the instrument between his knees, the position making the
strings almost horizontal. The instrument was well tuned and the
music resembled that of the “ Mexican dances.” These small harps
were said to be a characteristic instrument of the Yaqui.
Small drums and short reed instruments like “ shepherds’ pipes ”
were used in the celebration of Good Friday at Tucson, Ariz., in 1920.
In the yard of a Yaqui house a man named Manuel Ayala was
seen playing a flute and drum at the same time. (PI. 26, 6.) The
flute consisted of two separable sections and was 14 inches long. It
had only two sound holes and the distance from the second (lower)
sound hole to the end of the flute was about 7 inches.
16a Gifford, E. W. The Kamia of Imperial Valley, Bull. 97, Bur. Amer. Ethn., pp. 43, 44,
Washington, 1931.
28 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110
TanuLatep ANAtysis or 1,343 CurprewaA, Sioux, Urs, Mannan,
Himarsa, Paraco, Pawnrr, Mrnominer, YUMAN, AND Yaqui Sones
MELODIC ANALYSIS
TABLE 1—TONALITY
Chippewa, Sioux,
Ute, Mandan, ;
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number | Percent} Number | Per cent
Mejor tonality v2) 522-3222 646 53 62 49 708 58
Minor tonality. =. =So2 22232» 487 40 55 52 542 40
Both major and minor-_-_------ Sear woe UA Ak, (Je ene Be
Third Jagkingy ee! 2: ask = 2 49 4 5 8 54 8
Prremnian 2. ooo Soke = 2 23 2 7 5 30 4
CENT oe oy A a ee D2 \seeee boO noes 2 2 1040 | 2oess
1 Songs thus classified are ‘‘pure melody without tonality.”” In such songs the tones appear to be
arranged with reference to intervals rather than with reference to a keynote.
TABLE 2.—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE
Chippewa, Sioux,
te, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number |Percent| Number | Per cent
Beginning on the—
Thirteenth. . 2224. -6e" C70 ae aD gi ae Ge GON 6.\| a2
Ss (abit) ole et eee eel A 161 5 19 Wile Sg SS ee te 161 ik
BlSventheene eo ee 18 De eee 18 it
AB Sya replete abeeky hedaata ie 71 (Get Pasa Rese AIP DAS Lh 71 6
Ninth) ew seu Sik 2 63 Oi LO ok EE Ca 63 §
Ocavosmu iow naw_s 829A; AG). Leventeionts 229 i
Seviatiin cae 6.2 20 Os uceyse etal te 20 | 1
S154 1 6 gee oN 2 40 8 5 4 45 8
WD nee ee ee eo ee 328 28 28 21 356 27
WOU t= aoe oe 20 2 6 4 26 2
Pphirdsstl£e ssi 7 Ty 93 8 38 380 131 12
Secondt= larity Saree 26 2 3 2 29 | 2
meymnotes: ij. ~ 275.23.) 115 9.) 43 38 158 11
UTTO@ WA ne ab ee | 23 2 7 i) 30 | 2
io) r 21 lepopeyea 2 alegre Aegean ag Daley | ae oe 180 | JAE | }, 3454/2 Bae
DENSMORB] YUMAN AND YAQUI MUSIC
TABLE 3.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE
29
Chippewa, Sioux,
te, andan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Percent} Number |Percent| Number | Per cent
Ending on the—
Sixth see ee Se Se aU, 3a Soe Bra cane ey (eee! 1 eee
JEN RE ol CRE eae eS es 408 34 23 18 431 32
AMothds eee ee eee eee 119 10 32 25 V5it 11
Secon gees = 8-2 og hg 4 ANE ape 2 ee i Me Pag Thy, eared
Wenmete. 4 22 2 t= 8 2 662 54 67 50 729 54
irrepilar. ) 2 sles 23 2 Zz 5 30 2
Wo Gale = 2 Fee a Se oS ne? les 7h eae es i830), (ES 1438 |S ee ae
TABLE 4.-LAST NOTE OF SONG—ITS RELATION TO COMPASS
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Percent| Number | Percent} Number | Per cent
Songs in which final note is—
Lowest in song-___------ 921 76 39 30 960 | 72
Highest in song_-------- D0 eres ae btent tel iments | : i eae
Immediately preceded
by—
Bifth, below 22-252 lp (Spy Fre i ile | (ANE gf aa
Fourth below__----- 30 8 8 6 38 3
Major third below__-_ Tl eaass 11 8 18 | 1
Minor third below___ 31 83 44 34 75 6
Whole tone below--_- 22 2 5 | 4 27 2
Semitone below_----_ nO RS aeeere ge Bye 4 15 1
Songs containing tones lower
thanstimal tone!.__ 2.2 190 LO. 18 | 14 208 18
4 ROY a rae a ere Mi2L Sr is Bas LSOR | ses ze 1 843) |S eeoes
30 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
TABLE 5.—NUMBER OF TONES COMPRISED IN COMPASS OF SONG
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Percent| Number |Percent| Number | Per cent
W7RUONMCS He eee eer See eS UN hee Se ie eee | Ree tel taste
lMastoneso: 2. Sate ee soe 16 fe Se 16 1
PoMDONes ase oe ee oo Oe 63 | O\|a2 eee oe eae 63 5
TRLONGseoe eo tees 73. SM ide rh | alle a ee a 209 16
etOnesete ono eee oe 106 | 5S een ered edt 106 8
RCONeCS ome a ee eee 138 11 WU tig 139 10
ORTONesiee se ee zee ecec sees 126 | 10 2 | ae 128 0
EUO UGS a seme s Acree 336 28 15 10 351 26
(ALON eCHEPE a as BSE 69 6 40 82 109 8
GEUONER Eo hee ae sos oe eee 66 rs) 22 17 88 if
STONES] 2. Ba 4 ike ity. Soe. See 64 5 35 27 99 7h
AN CONES eee ets oat ao Se (oN Ege 10 ii 18 1
SIRO eee a eee ae Dig | =e = 43 4 1O*} 23225
OUD ee Uae eee nee Tr 208hi\3 ga 15072 ase 1,343) 22S
TABLE 6.—TONE MATERIAL
Chippewa, Sioux,
te, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Percent| Number | Percent! Number | Per cent
First 5-toned scale____------ 20 CAS VESPER fe Aerts ya dp 20 1
Second 5-toned seale________-_ 109 8 9 7 118 9
Fourth 5-toned scale________- 279 28 20 16 299 22
Fifth 5-toned scale__.-----_-- FAN Pa MY PM Sa Bik a 2 lt
IMS TOnAUCIaG = 2 Sa See 14 1 3 2 17 Z
Major triad and 1 other tone- 129 10 8 ii 137 10
MiInoninade. 2282s see | | kas Cp a Se Lope eget
Minor triad and 1 other tone_) 103 9 17 10 120 9
Octave complete. _...--.---- | 74 6 1g eet 3 75 6
Octave complete except | |
SOvenbne oats ie See ee | 118 9 7 4 125 9
Octave complete except |
seventh and 1 lower tone_-_- 114 9 20 18 134 10
Octave complete except sixth_ 43 5 4 3 47 4
Octave complete except sixth
and. 1 lower tone...=.==-~- 20 2 3 2 23 2
Octave complete except fifth |
and 1 lower tone__-_.--_-- 1 | apart ivA,| AY ARapon et | KURA aa 1 es eee oe
DENSMORB] YUMAN AND YAQUI MUSIC 31
TABLE 6.—TONE MATERIAL—Continued
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number iaecant Number | Per cent
Octave complete except
POUMG Meese Se ey 40 35 2 1 42 53
Octave complete except
fourth and 1 lower tone____ 1 VTS MS Ne ee LP |imorss
Octave complete except third_ a eo 2 1 7 GAR SI
Octave complete except
Second eM 4.222 2 o Les. 29 2 5 S; 34 2
Other combinations of tone,
including irregular in to-
MSU es ee ok re ts ere es 96 8 29 22 125 9
Totale 225522000. foe 20S ith ss ESO eee 2 L343) |225252
TABLE 7.—ACCIDENTALS
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nomines
Number | Percent} Number | Percent| Number | Per cent
Song containing—
No accidentals____._.._- O17 &3 104 te | dalek 8&3
Seventh raised a semi-
UOT Cia ek Et ee ee 25 BY Pa alee t Pat 2
Sixth raised a semitone__ 18 if 2 i 20 1
Fourth raised a semitone_ 25 2 3 2 28 2
Third raised a semitone_-_ (Fal asec 2 eget a | OO Ay eae
Seventh lowered a semi-
TONGS eee bees 1 a fk ag 4 5 £5 meme aera
Sixth lowered a semitone- 1 Es Sere ae Gu Stes Te eee
Third lowered a semitone_ A | Reg |e he ESE rs ee ee
Other combinations of
tones including irreg-
ular in tonality _-___- 118 10 | OF ace toe 2 127 10
AR a | Soe i EP) I je ee 13 Op | See ee. 1.343) |: 2582
67188—32——4
32
BUREAU OF AMERICAN ETHNOLOGY [ BULL, 110
TABLE 8.—STRUCTURE
Chippewa, Sioux,
Ute, andan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number
Number | Percent Percent} Number | Per cent
Wie bOL Se” eels eee epee 750 62 93 72. 843 63
Melodie with harmonic frame- |
Vii el ile Te Ee Sete eee 222 18 15 10 237 18
Ja tsiiccXo) nN(ee aye ee ee 218 18 i185} 10 233 17
IPE pIAr Rs: Sb 2Y osc Be = 23 2 7 5 30 2
ANG: Re eee. ae gb" Ns yam es Ca ts0e | aes 1, (343 f\ s5see—
TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number | Percent} Number | Per cent
DowDWard se see ae 766 63 53 40 819 60
Wipward esse Se 447 37 itt 60 524 40
ERO UA seen gee eee 1 bP Wa Su) bs Ae USO} = came 1343) |p
TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui
Pawnee, and Me-
nominee
Number | Percent} Number | Percent
Diwhward 222. Sate Se eee. 20, 331 63 3, 215 53
‘Ua | aC I eae Te a 11, 820 SCE INE eats AA ie
11 ON ll Bed (bcs) 6, 092 |
38, 243
Total
Number | Per cent
23, 546 62
14, 697 88
DENSMORE J
YUMAN AND YAQUI MUSIC
TABLE 11—INTERVALS IN DOWNWARD PROGRESSION
33
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number | Percent! Number | Per cent
Interval of a—
Twelfth, ninth, and oc-
taveuste to... SES Grle FARGO LL. elk Seat (op [eples of al
SOVENU Meta ee Ce 6 [Leet oe) aed een ie 6dberw A
Major sixth... 3. | S76 A aie SA Mt Up Receipes OX LZ fee sg _
Minor sixth 22.2 =~ 30) hoes ee! Dr | abies 33 7
] Oy i) 0 ee ee 168 if 34 1 202).
OUR b es or 2,111 10 292 9 2, 403 10
Major thing 2. 22)== 2-5 1, 895 g) 349 10 2, 244 9
WY itakese autys Es es ee ee 5, 982 29 905 30 6, 887 29
Augmented second _------ 9 le pe emershened n'ai PS Sie cra Sc|terees
Major'sécond.... _-. = 9, 274 46 | 1,455 44 | 10, 729 46
Minor second___-------- 834 4 177 6. | > Vom 4
Wo yey ie As Re A 7) VS 1 A eae 3S; 2Gh eee 23; 046) beeen
TABLE 12.—INTERVALS IN UPWARD PROGRESSION
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
| Number /|Percent; Number | Percent} Number | Per cent
Interval of a—
Fourteenth, twelfth,
eleventh, tenth, and
50) GOlF Oy eee en 58 i || Sees <a Boop 5S ieee s
Octavcuetolir o. Popa ss T6202 = Ai see 166 1
BENING a as er Boao + il eee Be ee
Mayorisixthy 2. Se. <= .-= 147 1 Geese se 153 1
Minor sixthute S22 Eto... LOW esate Deseret Bee LOS, estan
Pin ne sso ees bie Ses 7197 | yf 158 6 955 if
HOUT hee a ee ee ek 2, 006 7 263 9 2, 269 16
Major thirds.) = .—5 42 1, 202 tel 333 12 1, 535 10
Mimoraghinda= sees oe 2, 832 24 830 8 3, 662 24
Major second.___.-.-.-- 4, 009 34 1, 123 40 | 5,132 35
Minor second... + + _ - 448 4 156 6 604 ae
Ao falas eee sk. S20 eee De MGC cab 14. 69%) |2 2 aee
34 BUREAU OF AMERICAN ETHNOLOGY [BuLL, 110
TABLE 13.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Chippewa, Sioux,
Ute, Mandan, ‘
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number | Percent} Number | Percent} Number | Per cent
Number of ‘songs_-- =") -22 2. Mes ee a8 TSO) (ese 1/343 ijovete!
Number of intervals.__-.---- Oh abe) ieee 28 6,-092hize sie 88, ‘DES 4er _ 3
Number of semitones_------- 98° 863 JL 2b Ai, 69 .)s=o=e 116) 560nEeSs a"
Average number of semitones
man inbenvals 22-8 fe aD aes eee 22.0) |S eee & OSei. =
RHYTHMIC ANALYSIS
TABLE 14.—PART OF MEASURE ON WHICH SONG BEGINS
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Percent| Number | Percent; Number | Per cent
Beginning on unaccented part
Ofvmeasure. 22 -ss-c és cos 472 38 68 61 540 40
Beginning on accented part
Of Measine. + seen heen 698 58 62 49 760 66
Transcribed in outline_______ 42 5 5 | ae, ee, HDD ae at) 2 42 3
Without measure accents_____ 1 ial | pe a my ERR Oe a i ey
DENSMORE] YUMAN AND YAQUI MUSIC 35
TABLE 15.—RHYTHM (METER) OF FIRST MEASURE
Chippewa, Sioux,
Ute, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Per cent} Number |Per cent} Number |Per cent
First measure in—
2 ahivne 22488. 2 See 682 56 93 lial 775 57
o—4- Mes. Sk ok 426 35 28 20 454 84
4—AGHNe. . J<Gs ob ee AOI Ao ey a ee Se eae 8 Pee Opals e
ee Se ae 16 i te cee 17 1
G—4:times ake oe ee IL |e 2 ae A A ee Sona 1 FO aa
debe say. 2 Ee kee Di | | EE ES Se ee il Soe
SH OMPIMME SU pas ke Ded Sh thas a 3 2 14 1
AK BO GTINIC eee a eet Galea NY (ir see isiece ae
SO MeL — | a 12 1 2 1 14 1
Gro bIMes ee eh ] Uy ea 1 ee Zis|| Senne
(HO TUIMee teres fat oa. 1 ai ee 0 Lie (ea Ae 2 eee
2a DIME SSE Seed. eh Se eae es orn eB Si leeeces
Transcribed in outline______-_ 42 baal Se eee core || BE eee 42 3
Without measure accents_-__-__ ee epee aie L. joere oe
AINE! vat pa eeeepeaediie. a Use Yl eo di {0m eal sh ee Toto. ase
TABLE 16.—-CHANGE OF TIME (MEASURE LENGTHS)
Chippewa, Sioux,
te, Mandan,
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number ‘Per cent| Number |Per cent) Number (Per cent
Songs containing no change of
IHD ON ee ee ene: are ce a 182 16) 34 26 216 16
Songs containing a change of
GIT Cee te ee ee 988 81 96 7h 1, 084 80
Transcribed in outline________ 42 bo al bi te deta aa 42 3
Without measure accents__-___ TL RS Se IEE ER Oh CS Et AS) eS 2) 4 OL
MRO halee esse he Fs ap Leos ee ae iBOee ee 13343 Wo. ee
36 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
TABLE 17.—RHYTHMIO UNIT
Chippewa, Sioux,
Ute, Mandan, :
Hidatsa, Papago, | Yuman and Yaqui Total
Pawnee, and Me-
nominee
Number |Per cent| Number /|Per cent} Number |Per cent
Se SS Se ee ee
Songs containing—
No rhythmic unit_------ 335 28 44 34 379 28
1 rhythmic unit_..__--_-- 665 55 60 46 725 54
2 rhythmic units_____-_- 142 10 21 16 163 12
3 rhythmic units--_----- 22 1 3 1 25 2
4 rhythmic units_____-_- ‘a ee 2 1 7 ese! ep
5 rhythmic units_-___--- 71 i ea ee Se, eee AE |e) See
Transcribed in outline_-_-__-_-- 42 fr el ee ey eee 42 3
1) 0 AE ia a Mee >?) les a 130: Jon2see 19343 oo. 2
DescriptivE ANALYSIS
The purpose of this analysis and the accompanying tables is to
show the simplest characteristics of the songs and to afford oppor-
tunity for a comparison between the various tribes under observation.
After establishing the resemblances in a sufficiently large number of
songs a table of analysis is discontinued. Five such tables, used in
earlier work, are not used at the present time. These comprised
tables showing the tempo (metric unit) of voice and drum, and a
table comparing these tempi, a table showing the key of the songs,
and a table showing the rhythm of the accompanying instrument.
The first three were last used in the analysis of 710 songs (Bull. 75,
Tables 20, 21, 22 on pp. 48, 49, 50, 51), and the fourth was last
used in the comparative analysis of 820 songs (Bull. 80, p. 26).
In the first of these tables the highest percentage in the tempo of
the voice varied from 76 to 96, according to the metronome, 36 per
cent being between these numbers, with the highest (7 per cent) in
the number of songs having 92 as their tempo. The highest per-
centages in the tempo of the drum, rattle, or morache were between
92 and 120, 58 per cent of the songs being in this group, with the
highest (10 per cent) having 104 as their tempo. This indicated
the general tempi of the songs. Another table showed the voice to
be in the same tempo as the accompaniment in 51 per cent, faster
in 16 per cent, and slower in 32 per cent of the songs recorded with
drum or other instrument. This showed that the Indian is able to
maintain two distinct tempi at the same time, and the basis of
analysis was discontinued.
DENSMORB] YUMAN AND YAQUI MUSIC . 37
The analysis of 710 songs according to key showed the highest
percentages occurring between F and B, the highest within the group
having 8 per cent in the key of G major, and the next having
6 per cent in the key of F major. In determining this pitch the
phonograph was played at the same speed as when the record was
made and compared with a piano tuned to standard pitch (A, 440
vibrations). The table was then discontinued.
The classification of the accompaniment rhythm was continued
during the study of Mandan and Hidatsa music, the total number
of songs then under analysis being 820. (Bull. 80, Table 18 on pp.
25, 26.) In 61 per cent of the songs recorded with accompaniment
the drum, rattle, or morache was in strokes of equal force, each
approximately equivalent to an eighth, quarter, or half note of the
melody. In 33 per cent the stroke was either preceded or followed
by a short unaccented stroke and in 5 per cent the accompaniment
was in strokes that were equally spaced, with an accent on alternate
strokes. This group is classified as “ eighth notes accented in groups
of two.” From these analyses it appears evident that an even pulse
of the accompaniment was preferred by the Indians under observa-
tion, though the tempo might not correspond to that of the voice.
This basis of cumulative analysis was then discontinued. The
Papago sing with rattle and basket drum, and their songs were not
analyzed in this respect. The accompaniment rhythms of the
Pawnee were analyzed, and confirm the findings in 820 songs pre-
viously analyzed. (Bull. 93, Table 18, p. 125.) A general observa-
tion of the Menominee songs showed the same characteristic. The
present group, however, contains a wide variety in accompaniment
rhythms. This is shown in the group analysis (Table 18, p. 207),
but the comparative table is not resumed.
The foregoing data are presented in order that the student may
carry forward the comparison, if desired, by observing these pecu-
harities in the present group of songs. These tables are intended
to assist the understanding of Indian songs by simple standards
applicable to large series. They should not be understood as an
attempt at exhaustive analyses. Familiar terminology and bases of
classification are adopted as conducive to the purpose of the system.
Attention is here directed to comparisons made in the consideration
of Yuman and Yaqui songs which supplement the present com-
parative analysis. (See pp. 19-23.)
Taste 1—The Yuman and Yaqui resemble the Papago in having
less than half their songs in major tonality and a considerable per-
centage in somewhat irregular groups.
This suggests that “key” in the musician’s use of that term
is found to a lesser degree in recorded Papago, Yuman, and Yaqui
38 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
songs than in the songs of tribes previously analyzed. In this con-
nection it is interesting to note that the Yuman and Yaqui tribes
are distinct from the Papago in general culture, and that the
resemblance here noted would be difficult to detect in listening to
the songs.
Several factors are taken into consideration in designating the
keynote of a song for the purpose of analysis. No theory is advanced
that the keynote is part of a musical system, consciously followed
by the singer. It is simply a “point of repose” in the melodic
progressions. The tone is decided upon by the test of the ear, and
by the relations of the tones in melodic sequence. Thus if a song
contained only the tones C, E, and G, the tone C would be regarded
as the keynote if it were the most prominent, accented tone. If C
occurred only as an unaccented, passing tone, and EK were the most
prominent tone the song might conceivably be analyzed in the key
of E minor, or possibly as irregular in tonality. In a majority ot
instances the keynote is not difficult to determine if one admits the
test of a musician’s ear; in some instances it is debatable by any
standard, and in others it is so uncertain that the songs are classified
for the present as “ irregular in tonality.”
A small number of songs are sung four times and then ended at
any desired point (see pp. 18, 42).
Taxn.e 2.—The foregoing resemblance to the Papago and difference
from tribes previously analyzed is shown in the classification of the
first and last notes. In the Yuman and Yaqui songs 33 per cent
begin on the keynote, 30 per cent on its third, and 21 per cent on
its fifth, none of the songs having a compass of an octave. In the
Papago songs 24 per cent began on the keynote and 6 per cent on
its octave, a few Papago songs having this larger compass. In the
1,213 songs previously analyzed only 9 per cent began on the key-
note, but 19 per cent began on its octave, these songs having a much
larger compass than the songs recorded on the Mexican border.
Taste 3.—A strange contrast to all tribes previously analyzed is
shown in the relative proportion of songs ending on the third and
fifth above the keynote, this being the only group with the larger
percentage on the third. The percentage ending on the keynote is
smaller than in the total number of songs previously analyzed.
This is a peculiarity of this group of Indians and no explanation is
suggested.
Tasiz 4.—A large number of Yuman and Yaqui songs lie partly
above and partly below the keynote. It will be noted that the final
tone is the lowest in only 30 per cent of these songs, in contrast to
76 per cent in the songs previously analyzed. The trend of the
melody is shown by the fact that in 34 per cent of the songs the
DBNSMORB] YUMAN AND YAQUI MUSIC 39
final tone is immediately preceded by a minor third lower, and in
8 per cent it is preceded by a major third lower.
Taste 5.—Only two songs of this group have a compass of more
than eight tones, while in the songs previously analyzed 52 per cent
had a compass of more than an octave. The largest group of Yuman
and Yaqui songs has a compass of seven tones and comprises 32 per
cent of the entire number, the next in size being the songs with a
compass of five tones comprising 27 per cent. In songs previously
analyzed these groups have comprised respectively 6 and 5 per cent
of the total.
Taster 6.—The percentage of songs on the familiar major and
minor pentatonic scales is considerably less in this than in the total
number of songs previously analyzed, comprising 22 per cent in this
and 33 per cent in the former songs. Higher percentages appear in
the songs containing the minor triad and one other tone, and the
octave complete except for the seventh and one lower tone. The
songs based on the major triad and one other tone are less than in
the songs previously analyzed, though there is a higher percentage
of songs containing only the major triad.
Taste 7.—Accidentals, or tones diatonically altered, appear in a
larger percentage of Yuman and Yaqui than of songs previously
analyzed, an especially interesting group being the four songs with
seventh lowered a semitone, three of which are major in tonality.
Taste 8.—In structure the Yuman and Yaqui songs are more
freely melodic than any songs previously analyzed. This is in
accord with the results shown in the other tables of analysis.
Tastes 9 anp 10.—A distinctive peculiarity of these songs appears
in these tables, the percentage of songs beginning with an upward
progression being larger than in any other tribe under analysis and
the percentage of upward progressions being larger than in the
other tribes.
Tasies 11 aNp 12.—The percentages of various intervals in down-
ward progression resemble those of other analyzed tribes, these per-
centages being more nearly alike than in a majority of the tables,
but the ascending progressions show interesting differences. The
minor third, which has occurred in other tribes so frequently as to
constitute 24 per cent of the total intervals, is found to comprise
only 3 per cent of the intervals in Yuman and Yaqui songs, while
the whole tone, constituting 34 per cent of the preceding group,
comprises 40 per cent in the Yuman and Yaqui songs. The semi-
tone is also more frequent in occurrence. The vigorous interval of
an ascending fourth shows about half its percentages in the songs
previously analyzed. ‘Thus we see that the Yuman and Yaqui songs
progress upward by smaller and different intervals and a larger
40 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
variety of intervals than songs of other tribes, but progress down-
ward by practically the same intervals.
Tasty 13.—The average number of semitones in an interval is
smaller than in any former group except the old Sioux songs in which
the average was 2.89. In the comparatively modern Sioux songs
the average was 2.97. By this analysis it appears that the general
trend of Yuman and Yaqui melody is by smaller intervals than in
any other recorded tribe except the Sioux.
Taste 14.—Songs of directness and action have been found to
begin generally with an accented tone. In the Yuman and Yaqui
only 49 per cent have this beginning, 51 per cent beginning on the
unaccented portion of the measure. In songs previously analyzed
58 per cent begin on the accented and 38 on the unaccented parts of
a measure, the remaining 4 per cent being transcribed in outline or
without measure accents.
Taste 15.—The gentle smoothness of Yuman and Yaqui songs
appears also in the rhythm of their opening measures, 71 per cent
beginning in double time, contrasted with 56 per cent in songs pre-
viously analyzed. The percentage of songs beginning in 3-4, 3-8,
and 5-8 time is smaller than in other recorded tribes.
Tasie 16.—The smooth flow of Yuman and Yaqui songs is further
shown in this table, 26 per cent of these songs containing no change
of measure length while only 15 per cent of songs previously analyzed
were without this irregularity of rhythm.
Tasty 17.—The percentages in this table are consistent with those
in previous tables, 34 per cent of these songs containing no rhythmic
unit, in contrast to 28 per cent in the songs previously analyzed.
The songs containing one rhythmic unit are proportionately less than
in other songs but the songs containing two rhythmic units are more
than in the other tribes, comprising 16 per cent instead of 10 per cent.
Reference to the tribal analysis on page 207 and a comparison of the
serial numbers with the list of songs shows that six of the songs with
two rhythmic units are concerning birds and animals, one is concern-
ing the hunt, two are modern Yaqui songs, and the remainder are
songs of dances, apparently held for pleasure. These are the sources
of the most rhythmic songs of the tribes under observation, the
smaller percentages reflecting the characteristics of the long cycles of
songs.
The rhythmic element of Yuman and Yaqui music is contained in
the accompaniment rather than in the songs. These rhythms are
shown in Table 18, page 207, which is not carried forward in the total
analysis. Six different rhythms occurred in the accompaniment of
more than one song, and various interrupted rhythms are transcribed
with the melodies,
pBNSMORE] YUMAN AND YAQUI MUSIC 41
CREMATION
It is the belief of the Yuma, Cocopa, and Mohave that if a man’s
body is not cremated his spirit will “ wander around and talk to its
relatives in their dreams.” The origin of this ancient custom is con-
tained in traditions and series of songs which are similar in these
tribes.17 Cremation usually takes place less than 24 hours after
death. In former times a body was cremated in or near the dwelling
of the family, but in 1912 the superintendent of the Yuma Reserva-
tion, Mr. L. L. Odle, persuaded the people to have all the cremations
in one place, setting aside a tract of ground not far from the agency.
After about 300 bodies had been cremated at this place it became
advisable to select another, and a similar plat was assigned to the
purpose a little nearer the agency. Both places were visited by the
writer, and in neither place was there any evidence that the surface
of the ground had been disturbed. The present plat (1922) is about
a quarter of a mile from the foot of the hill on which the agency is
located, and comprises about 2 or 3 acres. At one end of this tract of
land the bodies are cremated and at the other end is a space for the
teams and horses of those who attend the cremations. In the middle
of the space is a log house and near it is a “ desert shelter,” consisting
of the usual thatched roof supported by logs. Under this is an old
spring bed, raised from the ground by corner posts about a foot
high. On this bed the body is laid before its cremation, being
brought thither immediately after death occurs. The Yuma believe
that the spirit remains in the body until cremation, when it departs.
All the personal belongings of the deceased are burned, except the
garments needed for clothing the image if he is to be “honored ” in
the Karok or Memorial ceremony. Animals were formerly sacrificed
and money is still thrown into the fire, but the articles burned at the
present time consist chiefly of clothing. Persons who have suffered
the loss of friends throw articles of clothing or other valuables into
the flames, believing that the spirit in its departure will carry these
articles to the spirits of their friends. An informant said: “ We can
replace the clothing. It is a greater honor to give to the dead than to
hang on to our personal belongings.”
The Yuma do not believe, however, that the spirit of the dead
goes at once to the spirit land. It is said to be too inexperienced and
unaccustomed to its changed condition to travel at once, so it lingers
four days near the place where it has lived. Then it can “see its
way ” and it goes to the wind quarters and then to the abode of
the spirits.
7 Cf, Putnam, A Yuma Cremation, Amer. Auth., Vol. VIII, pp. 264—267.
42 BUREAU OF AMERICAN ETHNOLOGY [putn, 110
There is a difference in the form of cremation for chiefs and for
unimportant members of the tribe. At the cremation of chiefs or
prominent persons there is a certain ceremonial procedure, the songs
of the origin legend are sung, and a very old rattle is used by the
man in charge of the event. Frank Pasquale was a leader of the
cremation and Karok in the early days, and Charles Wilson and
Chief Miguel sang with him as helpers, learning the songs in that
manner. Miguel is dead and Wilson no longer takes an active part
in the ceremonies, the songs being sung by his son, Joe Homer, who
is blind, and his nephew, Bill Wilson. The songs, however, are
understood to be the property of Charles Wilson.
A set of cremation songs may contain only two or three songs,
though the usual number is four. There are four sets of songs to
each half of the night, and four verses to each song. A peculiarity
of the Karok songs is that they are sung through four times and
then ended at any point in the melody. A further peculiarity is
that the singing ends on a low tone which is prolonged in a nasal,
humming sound.
The rattle used at a cremation ceremony consists of a string of
dewclaws forming a loop which is held in the hand. Formerly it
was kept by George Chino, a prominent member of the tribe, who
received it from his grandfather. At present Joe Homer keeps this
rattle and used it in the ceremony witnessed by the writer. The
tradition concerning this rattle is as follows: In old times the Yuma
came down from the north. On the journey they were hungry and a
deer rushed out of the wilderness. The chief gathered his braves
together and said, “Anyone who can get the deer will be honored.”
He sent out four men, one after another. The fourth man overtook
the deer on the run. He came alongside the deer and had a sharp
instrument with which he “ hamstrung” the animal so that it fell.
This saved the tribe from starvation.t® <A rattle was made of the
four dewclaws from this deer and they are supposed to be in the
rattle used at the present time. As long as the people could get dew-
claws, they added one for each cremation. This continued until
there were about 200. In recent years it has been impossible to get
these dewclaws, except that a few were brought from the north and
added in honor of Frank Pasquale, a chief who died a few years ago.
The rattle is now so old that some of the claws are loose.
The duration of a cremation ceremony depends upon circum-
stances as well as upon the prominence of the person for whom it
is held. An interesting example of this took place in 1921 in con-
nection with the cremation of a young man named Lee Rainbow,
who enlisted in the United States Army during the World War,
18 This narrative is given as nearly as possible in the words of the interpreter.
DENSMORH] YUMAN AND YAQUI MUSIC 43
went to France, and is said to have been the first Indian who died
overseas.’® He was buried in France, but his body was later brought
to America and cremated on the reservation. There was ample time
for preparation, and the people sang every Saturday and Sunday
for several weeks and almost continuously for a week before the
cremation. The informant said he remembered that the songs of
the Human Being dance, the Mohave bird songs, and the Yuman
bird songs were sung before Rainbow’s cremation; also the cycles
of the Sun, the Frog, and the Raven, as well as Rainbow’s personal
songs. Games were played at mght. Sometimes three or four
groups were singing at the same time, in the same house, each sing-
ing a different song. The latter was not done in the old days.
THe CREMATION OF BeRNARD FLAME
An opportunity for witnessing this rite of the Yuma occurred
on February 18, 1922, the writer being present at the cremation
of Bernard Flame. The ceremony was given as it would have been
given for a chief, because Bernard Flame had been a singer at cre-
mations, singing with Joe Homer, Bill Wilson, and Miguel, who
were leaders of the ceremony. He had an understanding with
Homer that whichever survived, the other should sing at his crema-
tion a certain song beginning with the words, “ The tomahawk says.”
These words are in the “ old language ” and a translation could not
be obtained. The promise was fulfilled at the cremation. A further
claim to honor was the man’s Yuma name and the manner in which
he received it. His Yuma name was Atcpa’mkivam, meaning “ cap-
tured ball.” This name was given him when he won in a game resem-
bling shinny except that the ball was buried in the ground about
114 inches before the game began. This was a difficult game and
the victor was accorded high honors. The name was explained as
follows: The stick used in playing the game was called tcata’s; the
ball, about 1 inch in diameter, was called i’tcatas, and after the
ball had been brought out of the hole it was called a’tcapam, mean-
ing “out of the hole.” Four men played the game, two playing
as partners. At first the four men stood around the hole in which
the ball had been placed and tried to raise it with their sticks.
When the ball had been brought to the surface of the ground the
successful man and his partner were obliged to defend it against
their opponents, all using their sticks. Retaining the ball con-
stituted a victory and the captured (retained) ball was called
acpa’mkivam.
1##The father of this young man, Nelson Rainbow by name, acted as one of the inter-
preters during the writer’s work among the Cocopa, translating that language iato Yuma,
while Luke Homer, the Yuman interpreter, translated it into English. Rainbow also
recorded two songs of the peon game (Nos. 124, 125).
44 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
Bernard Flame died in a sanatorium for the insane, where he had
been confined for seven years. When he began to act strangely
there was an effort to trace his condition to the action of some
medicine man, and “it made a great deal of trouble among the
people.” Later he was sent to the sanatorium. His condition was
not believed to change his personality any more than an ordinary
illness would have done.
The body arrived at Yuma by train on the evening of February
12, and the wailing began at once. It was not unusual for wailing to
begin before death actually occurred. This wailing comprises every
audible expression of passionate grief and is heart-rending to hear.
That evening it was decided that they would sing four times during
the night and four times while the body lay in state the next morn-
ing. The father of the dead man made four speeches, one when the
body arrived, another before and another after midnight, and a
fourth at sunrise. In the first he talked of the infancy and child-
hood of the deceased, in the second and third he told of his boyhood
and early manhood, and in the fourth speech he told of his son’s
mature life. It is the custom, when making these speeches for;a man
about 40 years old, to divide his life into periods of about 10 years
each, the speeches summarizing the events of his life according to
those periods. On the day of the cremation four ceremonial speeches
were made by the leaders of the ceremony, chief of whom was Joe
Homer. (See p. 46.) One speech was made while the body lay in
state, the second and third were in praise of his life and expressed
sympathy for his family, and the fourth was made at the place of
cremation after the fire was lighted. This speech completed the man’s
history, told what he did to benefit the tribe, and was said to “take
the man on his way to the spirit land.” These speeches were in the
“old language.” The following sentences were said to be part of the
final speech, but their connection is uncertain: “If you happen to
take the right road as I have done, you may at my age talk the lan-
guage I have received from the old men.” “Open the way for him
so that he can travel right and enter the happy hunting ground.”
Joe Homer allowed a Cocopa to make this speech.
The writer went to the cremation ground February 18 at about 11
o’clock in the morning. The body was lying on the spring cot under
the shelter or shack, closely surrounded by relatives\ and friends.
They sat on the cot close to the body and frequently took up the
hands and fondled them as they wept. Others sat on the ground,
often resting their head and arms on the body and wailing. Behind
them the people stood in a compact crowd. The father of the dead
man sat on the ground at the foot of the cot in extreme grief. The
crowd separated and allowed the writer to approach this primitive
bier and see the body, which was dressed as usual except that a
DENSMORB] YUMAN AND YAQUI MUSIC 45
handkerchief was tied over the face with a corner hanging loosely
above the chin. A handkerchief was tied over the hair and knotted
above the forehead, according to the Yuma custom. A pack of cards
was on the chest and a red blanket was under the body. Tears were
shed profusely by men and women, especially the men, both young
and old. There was much sobbing but not as much “ artificial wail-
ing” as in the afternoon, when shrill cries, high and penetrating,
were heard. The writer shook hands with the people and distributed
cigarettes. No preparations for the cremation could be seen at that
time.
Ficgurn 3.—Cremation crib (a) and pyre (b)
At about 1 o’clock she returned and found a larger assemblage
than in the morning. One hundred persons were standing around
the body, facing toward it, and it seemed as though everyone were
making a noise. On approaching the place it was seen that the
mourners were becoming exhausted, and during the next hour the
shrill cries of the less personally interested men and women were the
more in evidence.
The place for the burning of the body had been prepared and was
located perhaps 250 or 300 feet from the shelter. A shallow trench
had been dug and the earth placed carefully at one side. This
earth was about two bushels in quantity, showing that the trench
46 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
was not deep. Above this a frame or crib was constructed of
cottonwood logs which had been concealed in the brush, so that the
making of the frame required only a short time. This frame was
more than 10 feet long and consisted of a floor of logs sloping
slightly toward the foot and to one side. Upright logs about 4
feet high were at the head and horizontal logs to the same height
at the sides, secured by wire to upright posts. These were farther
apart at the top than next the floor of the structure. Outside were
small branches of arrow weed, placed upright on the ground, slanting
against the logs. (Fig. 4.) A short distance from this structure
were piled the additional logs that would be placed above the body.
The ceremony began in the shelter where the body lay in state.
Joe Homer and Bill Wilson took their places at the head of the body,
Homer holding the dewclaw rattle. Chief Miguel, who formerly
shared this responsibility, had died a few years prior to this event.
The manner of shaking the rattle at this time was “the highest
honor and done only for a chief or man of equal importance.” Stand-
ing back of the dead man, Homer lowered the rattle toward his face
with a trembling motion, raised it slowly with a gentle shaking, and
then brought it sharply downward with a motion like a blow. This
was done toward each point of the compass beginning with the north,
though Homer did not change his position. (It will be recalled
that the spirit of the dead goes to the four windquarters before
going to the spirit land.) There was a pause between the repetitions,
and one of the ceremonial speeches was made at this time. The body
was then lifted on a blanket and the procession started toward the
crib, led by Homer and Bill Wilson. All the company followed in
this procession. 3
Two stops or pauses were made on the way, one of these being cere-
monial and the other for some arrangement of details. The body was
laid on the ground near the crib. Fully 200 persons were present,
standing close together in the compact crowding which was noted in
the morning. Then followed an encircling of the crib, which was a
great honor and usually reserved for those who were to be honored in
the Karok or Memorial ceremony the next summer. This circling
began at the south, or foot of the crib, then moving to the east,
north, and west, the group moving outside the body as it lay near
the foot of the open crib. Four women walked backward, each
waving a bundle of “ presents ” consisting of clothing, and four men
walked forward, one being Homer, who continued to shake the rattle.
At this time they sang the second of two songs that had been sung
under the “shelter.” A pause was made at each of the cardinal
points where songs were sung that mentioned the wind quarters. The
rhythm was marked by stamping the feet, and the action was the same
as in a dance at the Karok and in the Deer dance. When a dancer
DENSMORBD] YUMAN AND YAQUI MUSIC 47
stamped his right foot he allowed his right hand to hang below his
knee, putting his left hand and arm behind him. This was reversed
when he stamped the other foot.
The wailing continued, one man sobbing as though physically
exhausted. It was learned that they were waiting for a woman who
was expected from a distant village, and at last she appeared, walk-
ing with a stout cane and repeating a high, shrill cry from time to
time as she crossed the cremation ground, her cotton mantle blown
backward by the motion of her walking. When she arrived the body
was lifted on the blanket and laid on the log floor of the framework,
the blanket being drawn smoothly over it and the man’s personal
belongings placed beside him. The body was laid face downward,
as it is the belief that if it is laid in any other position the spirit will
“wander around.” After it was in position the men in charge of
this portion of the event brought the additional logs and laid them
above the body, extending the length of the structure.. Many of
these logs were slightly bent mid length, making a knee which was
placed uppermost and protected the body from pressure. Songs were
sung with the gourd rattle, one of these songs promising the dead
man that he would be honored in the Karok, in the next summer.
Cottonwood logs were piled higher than the top of the horizontal
sides of the crib. The casket in which the body had been shipped °
was taken from its box and placed on top of the logs and on it were
placed gifts of clothing, handkerchiefs, and other articles. The ship-
ping box was then placed on top of the pyre beside the coffin. A man
who carried a flaming bundle of branches then lt the arrow-weed
stalks around the pyre, hghting them close to the ground in several
places. The flames rose quickly, the logs being very dry. There was
much crackling but little smoke, the pyre being enveloped in a solid
mass of flame. Women tore off their dresses and threw them into
the fire. Some of these were silk dresses, having the full, long skirt
worn by the Yuma women, with much trimming of white lace. A
good winter coat was among the garments thrown into the fire.
During the first few minutes a young woman, waving her arms
rhythmically, rushed near the flames as if in great grief.
Within 10 minutes after the lighting of the fire the people were
hitching up their teams to go away, and by the time the fire was out
only the mourners remained. This is the custom, leaving the family
alone as soon as possible. The ashes fell into the shallow trench,
and the earth, which had been placed conveniently near, was quickly
replaced, the ground was smoothed over, and all traces of the crema-
tion obliterated. The writer visited the place about two hours after
a former cremation had taken place and the only persons to be seen
were three or four women, sitting with bowed heads. No trace of
67183—32——_5
48 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
the cremation was visible, but undoubtedly they were sitting around
the spot where the fire had burned.
The mourners and singers must fast four days after a cremation,
eating as little as possible and avoiding salt and lard. There is no
“funeral feast ” as among some tribes, either before or after the rite,
and no food, tobacco, or cooking utensils are placed with the dead.
The name of the dead is not spoken until the Karok, after which it
is unspoken forever; neither is the dead referred to in any manner.
A CREMATION INCIDENT
The following incident was related: A young woman suffered
from chronic dysentery and death was believed to occur. Prepara-
tions were at once begun for her cremation, but she came to life and
later was able to tell her experiences. She was supposed to have
died late in the afternoon. All that night she believed herself in a
thicket of arrow weeds, without clothing. She could hear the crying,
and distinguished the voice of her mother, and she could see her own
body lying in the center of the open “shack.” Whenever she looked
up she saw people passing her hiding place, and heard them refer to
her by terms of relationship. They were on their way to her crema-
tion. She stood there feeling sorry for her mother and not knowing
what to do. Toward morning, after they had moved her body to
another shack, she ran over to another thicket and another until she
came close to the “crib” or cremation frame. The logs were green
and the place looked like a shelter from the sun. She went in and
sat in the little space, looking toward the shack where her body lay.
At last the time came when she knew they were going to move
the body and cremate it. Running as hard as she could run, she
went into the shack and lay down beside her own body, holding it
so they could not move it. She held it close for a few moments
until it began to regain consciousness. When she revived she could
barely hear the people crying. Her jaws were rigidly set, her upper
lp was drawn back, showing her teeth, and her tongue was thrown
back. She could hardly open her eyes. She was stiff, but they held
a mirror over her mouth and saw that life was returning, so they
had the Indian doctors rub her body. They rubbed around her
eyes and at last she opened her eyes and recognized people. She
could scarcely speak at first, but by evening she could talk a little.
She lived a normal life for some time and had no return of her
illness.
YUMAN LEGEND CONNECTED WITH CREMATION
CUSTOM AND MEMORIAL CEREMONY
The time required for a complete narration of this legend, with
the singing of the songs, is about nine hours. Two versions of the
DENSMORB] YUMAN AND YAQUI MUSIC 49
early portion of the story were recorded, one by Joe (Jose) Homer,
the blind leader of the songs at cremations, and the other by Peter
Hammon, a recognized authority on old songs and customs. Both
versions were the subject of consultation with Charles Wilson (Pl.
1 and pp. 100-129), the father of Joe Homer, who owns the songs
used in the cremation and memorial ceremony. He explained some
details and made slight additions to the narratives. Both inform-
ants said the songs are always accompanied by beating on an inverted
basket with bundles of slender arrow weeds, Homer stating that two
men beat on the basket but only one sang the songs. The early
portion of the story is presented in Homer’s version.
There were once two boys who were children of a bird called
wi’tsawits and also called tcowi’ts. It is a common bird with a
yellow breast that comes in the spring. These boys were named
A’xtakwa’some’ and Pu’kuhan (pronounced Po’kohan by the other
informant). They went out to get material for making a flute.*°
One boy tcok the material in his hand and said, “ The girls will love
me when I play this flute.” This is expressed in the following
song.
No. 1. “I Will Make a Flute”
(Catalogue No. 1288)
Recorded by Jon HomMER
20 Two other legends of the origin of the flute have been recorded by the writer, together
with their melodies. Among the Mandan the first flute was said to have been made from
a sunflower stalk. It had magic power, but was not a courting instrument. (Bull. 80,
pp. 80-84.) Among the Papago the first flute was made of cane, and its making was
connected with a story of two boys, similar to the legend here presented. (Bull. 90,
pp. 54-77.)
50 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 —
Analysis.—This melody consists of three periods, the third being
a repetition of the first. On comparing it with the melodies played
on the flute, as transcribed from actual performances, we note a
similarity in the ascent to a sustained tone and in the ascent and
descent within two or three measures. ‘The framework of this song
consists of the major third A flat-C, with G occurring only in the
second period. No rhythmic unit occurs, although the melody is
strongly rhythmic in character.
When the flute was finished he played on it, and the first melody
he played is said to have been that of the following song. The
words of the song, continuing the thread of the narrative, were as
follows: “I have the flute in my mouth. Anyone living far away
will hear and come to listen.”
No. 2. “I Have Finished the Flute”
(Catalogue No. 12389)
Recorded by Jor HomMrEr
Analysis —This is such a melody as a beginner might play on an
instrument. It contains many repetitions of a single tone and has
little that is interesting in either melody or rhythm. The frame-
work is the same as in the song next preceding except for the
omission of B flat.
These boys grew to manhood and each took two wives. The
younger man died, and when the tribe was journeying toward the
east one of his wives bore a child. The life of this child was threat-
ened by an old blind man, father of the younger man’s wives and
an enemy of the flute players. This old man said that if the child
were a boy he would cook and eat him, but if it were a girl he would
keep her because she could help cook and bring water.**? This por-
tion of the narrative is contained in the words of the following song.
“According to the jater informant the child’s life was similarly threatened by its
paternal uncle, Coyote.
51
(Catalogue No. 1240)
YUMAN AND YAQUI MUSIC
No. 3. The Wonder-boy is Born
Recorded by JozE Homer
104
DPNSMORB]
g@ major
second at the close of a phrase which is unusual and seems to suggest
uncertainty concernin
cterized by an ascendin
This song is chara
is
Analys
es occur-
ton
The only
19
“ Wonder-boy.
g@ the
ring in the melody are F, G, A, B flat, the latter being regarded as
In this, as in numerous other songs of the Indians, a
“key ” in the musician’s use of the term can scarcely be assumed to
exist, and the signature should be understood chiefly as a means
of indicating the pitch of certain tones, the designation of a key-
the keynote.
The most interesting phrase is found in the
note being tentative.
52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
fourth and fifth measures and recurs occasionally during the melody.
No accompaniment was recorded, but the rattle used with the song
was probably in the rhythm shown with No. 4, which conforms to
the rhythm in a phrase of the present melody.
The mother of the child had as great medicine power as its enemy,
so she caused the child’s voice in crying to be that of a girl, though
the child was a boy. ‘This saved its life.
Both informants stated that the boy was named Mitpa’khumi;
that he desired to change this name; and that he had a half brother
whom he later met and recognized.
At this point the work with Homer was discontined, and the re-
mainder of the material, both story and song, was obtained from aman
known as Peter Hammon, whose Yuman name is Misahai’kwakiu’.
He is considered a particularly good singer of the old songs, and
according to his custom he brought with him two bundles of arrow
weed for pounding on the basket as accompaniment to the songs.
He said that he inherited this series of songs and they belong to him.
It takes all night for him to sing the entire series, and the people who
ask him to sing the songs provide food at about midnight. As in
similar instances, the singer experienced difficulty in condensing the
material and selecting typical songs. The series is not complete, but
the number is sufficient for present purposes. The words of the
songs were summarized by the singer before the song was recorded.
These songs were called Ata’xamaili’ and “were not sung very
loud.”
The first song recorded by Hammon is concerning the Wonder-boy
on his journey. He stops occasionally and thinks of the name
(Mitpa’khumi) that was given him by his paternal uncle Coyote,
who was called Hatpa’akwa’s. He is not satisfied with his name and
decides that he will select one “ fitted to himself.”
No. 4. The Wonder-boy Decides to Change His Name
(Catalogue No. 1213)
Recorded by PETER HAmMMON
Voice @ = 104
Rattle @ = 104
See rattle-rhythm below
DENSMORB] YUMAN AND YAQUI MUSIC 5S
Analysis—Attention is here directed to the correspondence be-
tween the idea and the form of the song which is evident through-
out this group recorded by Hammon. In this song the child is
starting on his travels and is considering a change in his name.
The latter is more common among Indians than among persons
of the white race. The idea of the song is simple and the structure
of the song is both simple and interesting. The first period begins
with a 4-measure phrase and the second with a 2-measure phrase,
but the closing phrase is the same. In the 5-8 measure we find the
break in the time which is so often introduced midway through an
Indian song, adding to its interest. The melody tones are those
of the major triad and sixth, and the song has a range of six tones.
In repetitions of the song each section was sometimes sung twice.
The rhythm of the drum is simple and the drum and voice were
synchronous.
The next song states that as he traveled along he was satisfied
with a certain name and said, “ This day I will be known throughout
the world as Po’kohan.”** In explanation of this name it was said
that Po came from his ancestors and is in some way connected with
Coyote, while he himself added the termination.
No. 5. The Wonder-boy Selects a New Name
(Catalogue No. 1214)
Recorded by PETER HAMMON
Voice @ = 112
Rattle @ = 12
Rattle-rhythm similar to No.4
Analysis——The assertive phrases at the Sr iiee of this song seem
to express the decision of the Wonder-boy in regard to his name.
According to another informant the boy said “‘ Mitpa’khumi is a bad name because
I have not seen my father, so I will take the name of Kwi’yahoma.” The meaning of
this name is not known.
54 BUREAU OF AMERICAN ETHNOLOGY (BULL. 110 —
They are characterized by an ascent of a minor third to an accented
tone. The second period (B) contains only the tones F sharp and
G sharp with continuous progression between these tones. Rests
occur after four measures until the 2-measure phrase in period B
which ends somewhat abruptly. The tone E occurs only in the con-
nective measure between repetitions of the song.
As the Wonder-boy continued his journey he came to the place
where he was born. He found the house deserted and nothing but
tracks of birds and snakes around the place. He entered the shack
and stood there with his eyes closed and his hands over his eyes.
He stood there for a whole hour. Then he took his hands from his
eyes and saw the garments and paraphernalia of his ancestors hang-
ing on the wall. There were war bonnets, garments decorated with
feathers, and many similar articles, and he put them on and went
outdoors and admired himself. Then he changed his mind and took
the things back and hung them where he had found them. He kept
one small article which was made of bamboo and called axta’kasa.
He said, “ This was used by my ancestors to enable them to go with-
out water for a long time. I will take it, as I shall need it on my
travels.” He took another article called ha’punor, saying, “I will
need this also on my wanderings. It will enable me to go without
food.” This article was a belt to be worn around the waist. He
took also a war bonnet, saying, “I will wear this to keep the sun off
my head in my travels.” He also took a fourth article, which was
a bag, hung over his shoulder. He went out of the shack carrying
these four articles.
As he traveled on and on he had in his mind only one desire, and
that was to see some of his ancestors. After going quite a distance
he stopped and made a fire, then he turned around and put water
on it, putting it out. He piled up the hot, wet ashes, ran his hand
through them, and brought up his father, who had died before the
boy’s birth. The features did not look like those of a human being,
but the boy recognized his father. Then his father spoke and said,
“Tam glad to see you, my son, but you must remember that my
bones, such as my shins, are being used by other people as shinny
sticks, and that the man who killed me has caused me to inhale
nothing but this dust so that I would become dry and could not be
brought to life again.”
The boy said, “All right, father. Although I have the power to
bring you back to life again, I will not do it. This shall be an
example throughout all future years.” *4
**If the boy had restored his father to life it would have been possible for every human
being to be restored to life by medicine power.
DENSMORD] YUMAN AND. YAQUI MUSIC 55
After the boy said this he put his father back into the ashes
whence he had come. ‘This is narrated in the following song:
No. 6. The Wonder-boy and His Father (a)
‘(Catalogue No. 1215)
Recorded by PETER HaMMON
Voice é = 112
Rattle J = 12
Rattle-rhythm similar to No. 4
4 Ura
Sed| OF We
P_aLi | ae ee
La =
Analysis —This song may be characterized as exclamatory. It
contains many short phrases and short rests which were clearly given.
The slower tempo of the third period is interesting, also the fact that
the period, or section, is entirely on one tone. We note that the
words of the song relate the action of the boy in bringing up his
father from the ashes and returning him thither. Ascending and
descending intervals are equal in number and almost half the inter-
vals are fourths. Next in frequency is the minor third, and the
song contains only one progression of a whole tone. Thus the pro-
gressions are larger than in a majority of songs of this group.
The boy traveled on, but he was not satisfied. He said that if he
could only bring back his father once more and talk with him again
he would be entirely satisfied. So he brought back his father a sec-
ond time, and they wept in each other’s arms. After the boy had
been with his father a length of time he was satisfied. Then his
father said, “ During my life I stored a quantity of dried deer meat
and other provisions. They are at a certain mountain (named).
You are to go there, take everything that I stored, and use it as
food on your travels.”
56 BUREAU OF AMERICAN ETHNOLOGY (BULL, 110
The boy replied, “No. What you did and what you wore and
what you stored away I do not want to take. I have my own power
to go about and provide for myself.” So he sent his father back,
with dust and clouds and thunders roaring, going down into the
earth forever.
The next story is concerning the second restoration of the boy’s
father. Other songs of this part of the series were not recorded.
No. 7. The Wonder-boy and His Father (b)
(Catalogue No, 1216)
i Recorded by PETER HAMMON
= 138
draid as dobar dobar rdrr brady
py dadaralhbeas enrme
Analysis ——The rhythm of the rattle is more irregular in this than
in the song next preceding, and the song opens in the same agitated
manner, but the second period (B) is calm and restful, suggesting
the boy’s resignation to the final departure of his father. This
period contains only progressions of a whole tone. The rhythm of
the rattle was uniform throughout the renditions of the song.
After sending his father away the second time the boy traveled on
with no particular objective and finally arrived at the Colorado
River. He traveled southward to see if he would come to a narrow
place where he could cross the river. Finding none, he turned
toward the north. He stopped and looked at the river with wonder.
He saw a piece of petrified wood and wrapped up his few belongings
and started across the river on the wood. Finding this was not like
other wood but was sinking, he tried to hold it up, but just as he
was about to drown he was caught by a whirlpool and carried to
the other edge of the river. After getting out of the water and
putting on his clothes he took one step and was on top of the moun-
tain called Avi’makxeé’k, which is between Pika’tco and the present
town of Parker. After standing there quite a length of time he
DENSMORE] . YUMAN AND YAQUI MUSIC 57
wondered whether his uncle Hatpa’akwa’s (Coyote) meant what
he said when he told him, “In your travels through deserts and
unknown lands if you should happen to swallow your saliva you
will become lost in your wanderings.” While at this mountain the
saying of his uncle came repeatedly to his mind, though he knew
where he was and knew the name of the mountain. He said it was
his country and that the mountain belonged to him. (The song
containing this was not transcribed.)
Then he thought about another place similar to the place where
he was. He thought of going there and staying a night, but he
changed his mind and thought of another place to the west. He
decided to go to this place and started to run down the mountain.
Immediately he was at that place, admiring the mountain called
Celai’t. This narrative is contained in the following song:
No. 8. The Wonder-boy on the Mountain
(Catalogue No. 1217)
D Recorded by PETER HAMMON
58 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110
Analysis.—The uneven rhythm of the drum was maintained in
all renditions of this song, indicating that the drum conformed to the
melody instead of being an independent rhythm. This is noted in
many songs herewith presented and is contrasted to the songs of
many tribes previously recorded in which the drum was an independ-
ent expression, having its own tempo and rhythm. The peculiar
measure lengths of this song were also found in all the renditions.
‘This begins and ends on F, which is the middle tone of its compass.
It contains only two intervals larger than a minor third, and about
73 per cent of the intervals are whole tones.
As he stood there he thought that if he started from there and
went toward Pika’tco, it would be a short cut for him to go through
the present site of Yuma and to a certain lake. Then he thought
of another place on the east side of the river and decided to go there.
He started east toward this place. Finally he came to a place now
called Avi’apsin. Then he said, addressing the place, “If I were
to call you by a word in my language I would call you Awi‘apsi,
but when the coming generations name you they will call you
Avi’apsin.” (This song has the same melody as the preceding and
was not transcribed. )
After naming this mountain the boy stood there and thought of
another place where he wanted to go, because he was not satisfied
with any of these places. He traveled on until he came to a place
called A’matiya’, meaning Earth-mouth.
YUMAN AND YAQUI MUSIC
DPNSMORD]
No. 9. The Wonder-boy on His Travels
1218)
(Catalogue No.
Recorded by PETER HAMMON
Rattle-rhythm similar to No.4
’
iods
getic
@ a more ener
The compass of the melody is only
It was dressed entirely
monotonous and the rattle in a
Ascending and descending inter-
The song contains three peri
In this song the Wonder-boy is proceeding on his
eee:
go Bee SS
=| s in ©)
o SI é
re
CO o o
S
aac a
wm al
ogee 8
~ Gq
Pee Se
=| = 2
a 2 bh
> + al
3 nie o A
ip ep BO=2 =a
ro (<. oO «
Gees & “op
| S Aa eo 3
mM oO a eae
SOL 9 EF Bo
gig 2 rs gio
Yo) 42 ro) mre)
ea @ A oi oe =e Sy
S28 gis gaces a 2
D\C Path oie cans Se
S_qo Woe OA
Bi" Geo 6 Soe tie @ a
4 Oo © Sa.0 cs 2
Ga Oo ® Yet,
if > wae |” ae oo eS
a ®o o Sia SO
TB Seah. ed
39 aT S|
Sj He © ante eS
ORS ooo ein 5
FE gad oeee ss
7 28 ee Saw 8
GEESE, St. BE
© Sag eo ~
a A HO og &
S wy a 8 Beg HB m of
Sousesr ess ©.
P , n
Sips eabe coup. 6
Bo ered 3s ob ce g
60 BUREAU OF AMERICAN ETHNOLOGY [Bunn 110
in bamboo and it had rings on its fingers made of bamboo and it wore
bamboo sandals. It also had one bamboo sticking up in its hair like
a feather. He said to himself, “I will hide behind this place and
catch him. If it is an animal I will keep it for a pet, and if it
is a human being I will consider him a friend.” While he was hiding
there the moving object was coming nearer. It was like the Wonder-
boy, only dressed differently. It was his half brother A’xtak-
wa’some, who had as much medicine power as he himself possessed.
The boy did not realize this, and when the stranger came near
his hiding place he started to seize him. To his surprise the stranger
suddenly vanished and then appeared on the lowland at the other
side of a slough. Then Pokohan recognized him and said, “There
is something I wanted to say, and it is this: I am your half
brother, and the person who has told me this is my paternal uncle
Hatpaakwas.”
No. 10. The Wonder-boy Meets His Brother
(Catalogue No. 1219)
Recorded by PETER HAMMON
Voice a =, 76
Rattle J = 76
Rattle-rhythm similar to No.4
A
Analysis —In this song the Wonder-boy meets his half brother
and the song contains the exclamatory quality that marked the song
of his meeting with his father. Several tones are strongly accented
and there are many short phrases separated by rests. The keynote
appears to be G, which is in the middle of the compass of the song
DENSMORU] YUMAN AND YAQUI MUSIC 61
and occurs as its first and last tone. Major thirds and major seconds
each occur seven times in both ascending and descending progres-
sion. This is the most frequent occurrence of the major third in
the entire group of songs, this interval being omitted from many
songs. In this melody the minor third occurs about half as
frequently as the major third.
The stranger said nothing but stood there with tears running
down his face. There was talk of bringing Hatpaakwas himselt
to settle the matter but Pokohan said, “ Our uncle is much older than
we are and he was present when you were born; he even took you in
his hands.” After the stranger was convinced that he was half
brother to the boy, Pokohan took off his garment, wrapped it on
a stone and threw it over to the stranger on the other side of the
slough. The stranger replied, “I understand how it is, and you
show me much respect, as though I were your half brother, but as
you have seen I have nothing to give you in return, for I wear
nothing but this bamboo.” Then he took the garment, put it on
his shoulder and started west while Pokohan went toward the south.
After Pokohan had traveled a distance he stopped and looked toward
where his half brother was going and said, “I will sing for him for
the last time.” In this song he calls his half brother by his name,
Ahtakwasome, and says that he is going toward the west. The
melody is a duplicate of the preceding and not transcribed.
Then Pokohan started as though he were going to some par-
ticular place. He went until he came to a certain place and there
was a jack rabbit sleeping on the road. He almost stepped on it
and it was frightened and started to run toward the mesa. Then
it stopped and stood on its hind legs and looked at the boy. This
frightened Pokohan, for he was still a little boy and he thought the
jack rabbit was going to catch him. Then he said, “I will destroy
all this grass that you feed on so that you can never come here
again to feed.” Yet the boy knew that the grass would grow
again if he destroyed it.
62 BUREAU OF AMERICAN BTHNOLOGY [BULL. 110
No. 11. The Wonder-boy Meets a Jack Rabbit
(Catalogue No. 1220)
Kecorded by Prerer HAMMON
Voice d = 112
Rattle # = 12
Rattle-rhythm similar No.4
Analysis —Only three tones occur in this song. The drum is in
continuous quarter notes, this beat being steadily maintained during
a 5-8 followed by a 8-8 measure. Attention is directed to period C,
which begins with a 4-measure phrase followed by two measures
differently accented ; these measures being followed by four measures
in the original rhythm.
The boy lighted the grass and it started to burn. Then he said,
“If I could only get rid of my hair, so it would not be so heavy in
my travels!” So he put his head down in the fire and burned off all
his hair. He took the little bamboo (to prevent thirst) and put it in
his mouth, and he took the belt (to prevent hunger) and put it around
his waist; then he put the war bonnet on his head, but it would not
stay on because he had no hair. When he saw this he said, “ Why
didn’t I think of this before? I will have no more use for this war
DENSMORD] YUMAN AND YAQUI MUSIC 63
bonnet.” But on second thought he spit on the palm of his right
hand, put the war bonnet on his right hand and then on his head,
and it stayed on. He stood there, shook his head, and said that it
was all right.
No. 12. The Wonder-boy and His War Bonnet
(Catalogue No. 1221)
Recorded by PETER HAMMON
Analysis —This song contains the exclamatory phrases similar to
those noted in Nos. 6 and 10. The song has a compass of five tones,
the lowest of which is the keynote, but the song begins and ends on
the middle tone of the compass. The period B is entirely on one
tone, and the melody progresses entirely by major and minor thirds.
The drum is in continuous quarter notes except that the beat on the
final count of a measure is sometimes omitted.
He started again on his travels and came to a big “ wash” and he
traveled in that until he came to a narrow place. There he heard a
low sound that still was loud. He lay and watched until this sound
came up to him and he found it was made by a wild cat. He called
the name of the wild cat, Naxmé’, and said that its body was striped
and its eyes shone. ‘This was the first naming of the animal.
67183—32——6
64 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 13. Song Concerning the Wild Cat
(Catalogue No. 1222)
Recorded by PETER HAMMON
sa dy doydy gdaa ha dy he geen
Analysis —A. song concerning a wild cat has not previously been
recorded and we look for some peculiarity of rhythm or melody.
The drum was clearly audible, and its irregular rhythm is tran-
scribed as it occurred in all the renditions. A 5-8 measure appears
four times in the first period, always on the same tone. These fea-
tures are somewhat unusual. The second period is different in
rhythm and less active in its melody progressions. The melody tones
are of the minor triad and fourth and the song has a compass of five
tones.
Farther on he met a little humming bird and it was making its
own sound. It sounded as though there were more than one. When
the sound came nearer he saw that it was nothing but a little hum-
ming bird, so he stood there and gave it the name of Nakui’x. It is
interesting to note the humming, monotonous form of the next song.
DENSMORE] YUMAN AND YAQUI MUSIC 65
No. 14. Song Concerning the Humming Bird
(Catalogue No, 1223)
Recorded by PerrrR HAMMON
Drum ie dy dy dy? yy daz dy dy}
g Hes dex ody dye Bae dex dy dy
Analysis—The peculiar sound made by a humming bird is sug-
gested by this melody, the semitone, which is somewhat unusual in
Indian songs, comprising about one-third of the progressions. No
interval larger than a minor third occurs in the song. The change of
tempo in the second period is interesting and was given in all the
renditions. The drum beat is somewhat irregular. Cf. No. 76, which
is also concerning a humming bird.
66 BUREAU OF AMERICAN ETHNOLOGY (BULL. 110
He journeyed farther and heard another sound. It came from an
insect (horsefly) which he named Huau’. This little insect was in a
plant called a mountain star and the boy did not see the insect, but
he heard a strange, loud sound coming from the plant. In the song
he described the insect and mentioned its wings and its eyes, as well
as other characteristics. The song had practically the same melody
as that concerning the humming bird and it was not transcribed.
The series could have been greatly extended, the traveler meeting
many other insects and visiting other mountains. The portion of the
series herewith presented seems, however, to be sufficient for the
present purpose.
YUMA CORN DANCE
Several dances associated with the Memorial ceremony were held
previous to that event, the most important being the Corn dance
(Alal). Corn is mentioned in the Akil songs and the dance was con-
nected with the securing of an abundant crop. Katco’ra (pl. 27, a),
who recorded the songs of this dance, also assisted the writer by
going to the houses of singers living at a considerable distance,
persuading them to record songs, and in some instances bringing
them to the place where the songs were recorded. He said that he
had been a “helper ” at the Corn dance and his power was such that
his singing of these songs caused the cern to grow faster. The songs
began by telling of the planting of the corn, the gradual opening of
the leaves, the appearance of the tassels, and the full development of
the corn up to its maturity. Several tribes were often in attendance
and “each tribe sang of the corn in its own Janguage and in its own
way.”
In the old days the Yuma, as already stated, were scattered over a
wide area, some living in the Gila Valley north of their present
abode, some living farther south, and some farther west. They met
for the Corn dance, which began when the corn was about 10 inches
high and continued until the corn was ripe, which was from four to
six weeks.
Those who danced the Akil were “ dressed up to look as fierce as
possible.” Their faces were painted with clay and their hair was
arranged high in a pile, willow bark being used in this style of hair-
dressing. At the beginning of the Akil a meeting was held under
a desert shelter decorated with green. (This structure is commonly
called a shack.) The people of each village came by themselves, led
by a singer, and they all sang as they advanced.
The Akil was danced by both men and women, standing side by
side in four or five circles, one inside the other, while the singers
DENSMORB] YUMAN AND YAQUI MUSIC 67
were in the middle of the innermost circle. The singers usually com-
prised two men, with one woman as a helper. Additional women
singers are mentioned in connection with No. 17. The songs were
accompanied by the shaking of gourd rattles. The dancers did not
stand alternating men and women, and they might hold hands or
not, as they chose. Much individuality of motion was permitted, as
it was said that “some danced up when others were down or bent
backward.” At first the circles moved in the same direction and a
characteristic of the dance was the changing of direction by alter-
nate circles. This was done during songs Nos. 17 and 18. Many
other dances were held during the time that the people were together,
different singers and dancers taking part.
When the corn was ripe it was cut, placed in a pile, and divided
among the people. At the final meeting a speech was made an-
nouncing the Karok, which began four days afterwards, according to
the native reckoning, which includes the first and last days of the
four. The person who arranged for the Akil expected to take part
in the Karok and at its final dance he collected paints, beads, and
other articles to be used in the ceremony, the persons who attended
the dance contributing these materials.
The Akil in its full form is said to have been given “ not so very
long ago” with Maricopa, Mohave, and other tribes in attendance,
but at the present time the singing and dancing lasts only a week,
and has no significance.
The songs of the Akil are in pairs, the first song having words
and the second having no words. Katcora recorded one pair of
songs, and thereafter sang only the first song of each pair. The
words of these songs are in what is known as the “old language.”
The singers repeat the songs by rote and have a general knowledge
of their meaning, but the language is obsolete. It appears that, as
in many of these songs, the words are descriptive of action which
either is taking place or is supposed to have taken place among
mythical personages. The first song was said to state that a certain
group of people had arrived and were singing and dancing.
68 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110
No. 15. Corn Dance Song (a)
(Catalogue No. 1231)
Recorded by KATCORA
Voice 7 - 100
Rattle | - 100
See ithe hare Als below
Rattle-rhythm
f Burr ts
Analysis.—This song consists entirely of 2-measure phrases. The
periods A and B each contain four of these phrases and period C con-
tains six, the last two having no rest in the final measure. The song
is characterized by the descending third at the close of these phrases,
which was always sung glissando. As in many of these songs, the
most pleasing portion of the melody is in period C. In two respects
this melody is unusual. The lowest tone of the compass is the first
and last tone in the song, and 86 per cent of the progressions are
fourths and major thirds.
This was followed by a song which had no words, but has the
same melody, being the second of the “ pair.” Katcora next recorded
a song which says that after the people arrived they circled around
the shack, singing and dancing.
During the two songs next following the alternate circles reversed
the direction of their motion. These were the only songs during
which this change of direction occurred.
B pens more] YUMAN AND YAQUI MUSIC 69
No. 16. Corn Dance Song (b)
(Catalogue No. 1232)
Recorded by KatTcoRA
Voice d = 88
Rattle d = 88
See rattle-rhythm below
Teenlan in tonality
¢ ; 7
™ ae 4
ee | ELS el Ey ee |
Rattle-rhythm
valde 3
Analysis —This melody is classified as irregular in tonality. In
order to indicate the tones which were sung by the Indian the song
is transcribed with a signature of five sharps. It will be noted that
the tone B does not occur, the melody tones being D sharp, E, F
sharp, and G sharp. There is a plaintive effect in the frequency
of semitones which is somewhat unusual in these songs, comprising
19 of the 26 intervals. The rests were given uniformly in all the
renditions. The rhythm of the rattle was different from that in the
preceding song and was maintained with clearness.
The interpreter said, “ When he shakes the rattle down it is the
signal for the women singers to begin. The people dance moderately
while the men are singing, but at the change to the women singers
the leader says, ‘Dance harder. Do your very best.’ So they all
dance harder.”
70 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110 9
No. 17. Corn Dance Song (c)
(Catalogue No. 1233)
Recorded by KATCORA
Voice d = 92
Rattle @ = 92
See shaw below
Rattle-rhythm
le hae i
Analysis.—This song contains the tones C sharp, D sharp, E, F
sharp, and G sharp, and progresses chiefly by minor thirds. The
sound of the rattle was synchronous with the voice and occurred only
on the first of the measure. As in all songs of this group, the rests
were given with much distinctness. Period B consists of four
phrases, the second of which is similar to phrases in A, while others
differ slightly in rhythm. Each period of the song was repeated
several times.
The next song mentions the clouds of dust that arise as the people
dance.
DENSMORE] YUMAN AND YAQUI MUSIC G1
No. 18. Corn Dance Song (d)
(Catalogue No. 1234)
Recorded by KaATcoRA
Voice J: 96
Rattle # = 96
Rattle-rhythm similar to No. 15
A
Analysis —The manner of singing this song was marked by pre-
cision and a decided accent. The keynote is regarded as E, and the
song contains all the tones of the octave except the third and seventh.
The period marked A was sung six times, followed by B sung once,
after which A was sung four times, followed by B and C. The only
differences in the repetitions was that in the sixth repetition of A
the last two measures were omitted, which may have been due to the
length of the words. While the rattle could not be distinguished in
every measure, it appears to be in the rhythm indicated. About
three-fourths of the progressions are whole tones.
The words of the final song state that the people are dancing around
in a circle.
72 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 19. Corn Dance Song (e)
(Catalogue No. 1285)
Recorded by KATCORA
Voice @ = 100
Rattle d = 100
Rattle-rhythm similar to No. 15
Er J
ee ee
Analysis—This song contains short phrases followed by rests, sug-
gesting No. 15. It has a compass of five tones and contains all the
tones in this compass. In a majority of this series of songs the
ascending and descending intervals are similar if not equal in number,
but in this instance one-half of the upward progressions are major
thirds, which do not occur in downward progression, and two-thirds
of the downward progressions are whole tones, which occur only
twice in upward progression. This gives a rather unusual interest
to the melody.
YUMA HUMAN BEING DANCE (PI’PA)
A dance frequently held before the Karok instead of the Akil is
the Pi’pa, or Human Being dance. This may also be used at a social
gathering, and on such an occasion the young men and women take
part; but if it is given before the Karok it is danced only by older
people who are relatives of the persons to be honored, or commem-
DENS MORD] YUMAN AND YAQUI MUSIC rs)
orated, in the Karok. Like the Akil, it ends four days before the
beginning of the Karok. The instrument used to accompany the
songs is the “ spice-box rattle,” consisting of a small tin box contain-
ing BB shot and pierced with a stick which serves as a handle. This
rattle is used with no other songs. The singers are usually 6 to 10 in
number and sit on a long bench. (Fig. 4, c.) The leading singer
has the loudest rattle—not the largest but the one containing the most
shot. He sits in the middle of the row and his two best assistants
are seated one on each side. The other singers are known as “ help-
ers.” The dancers move in two ellipitical paths in front of the sing-
ers. The men dance nearest to the singers and move face forward.
The women move sidewise, facing the singers continuously. (Fig.
4, a,b.) The number of women dancers is usually larger than the
We sttuaticts Tt fe Secs,
eocee SL 2
ACT -f
a Ty
@. !
‘ age
Re AeBuh steaphan desis fil shay. ys ETO yh Meath Nita Sealeriacs
OLS TTT FT HATO itd ARE Te a
a ‘y
bi
/
Se 7
Soe _<
i <----€--- 7-7-7
G6 e e e ° e e e e ec
YicurRp 4.—Diagram of Human Being Dance
number of men. The dance is so lively that the dancers are said to
have both feet off the ground at the same time, leaping into the air.
When this dance precedes a Karok it is the present custom to
begin the dance about noon and continue for two or three hours.
When the leading singer sees that all the people expected at the
gathering have arrived he begins a certain song. This is the signal
for the dance to cease. ‘The women then begin to wail and the whole
company begins to cry. This is continued during the entire day,
and at its close the speaker announces that the Karok will begin in
four days.
YUMA MEMORIAL CEREMONY (KAROK)
The annual observance of this ceremony is continued by the Yuma
at the present time (1922). In some respects the ceremony resembles
the Chippewa “restoration of the mourners” and the Sioux cere-
74 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
mony of “releasing the spirit.” °° It terminates the period of mourn-_
ing, and the preparations occupy the attention of the family and~
friends of the deceased during the early months of their bereavement.
The phase of the ceremony peculiar to the Yuma is the public burn-
ing of “images” of the deceased persons, after which the dead are
never mentioned. There is considerable expense connected with the
making of the images and the gifts to the dead, which debars some
of the poorer members of the tribe.
The decision that the deceased shall be represented in the Karok
is made at the time of a cremation. Relatives of the deceased then
reserve part of his clothing to be placed on the image that is to be
burned. Some time before the Karok a meeting is held and each
person brings a gift of clothing to be put on the image. They all
wail and cry as at a cremation. One man is appointed to keep all
this clothing, which he takes home and locks in a trunk. The man
assuming this responsibility must go without salt or lard for four
days and bathe every morning, in order that the spirits of the dead
may not trouble him.
Certain materials used in the Karok, such as native paint or eagle
feathers, must be obtained from the vicinity of Needles or Parker,
and a messenger is sent to obtain them. This costs two or three
horses and a quantity of beadwork or other goods. The messenger
announces the Karok to persons living in that vicinity and tells the
time of the ceremony, so they can attend if they wish to do so.
The images used in the Karok are made to look as much as
possible like the persons they represent, both men and women. The
work is done by men who are experts and are not paid for their
services. One mourner usually provides several images. Thus if a
man intends to take part in the Karok by providing the image of a
parent, he is required to provide also the image of another adult
relative who has died recently, and if he can afford it he is expected
to provide many other images.
In his preparation for making the image a man skilled in the art
will go to the relatives and ask how the deceased was accustomed to
paint his or her face, and to make any other inquiries that will
assist him in securing a likeness. The images are almost life-size.
At the present time the framework for the body is made of a board,
but in the old days the entire figure was made of cottonwood. The
foundation for the head is made of a section of willow log which is
made smaller for the neck and attached to a thick board, of such
a length as to make the image approximately the height of the person
when in life. Projecting crosspieces for the shoulders and hips are
* Cf. Bull. 53, pp. 153-162 and Bull. 61, pp. 81 to 84.
pENSMORE] YUMAN AND YAQUI MUSIC 15
attached to the board (Vig. 5.) This much of the work of pre-
paring the image is done before the time of the ceremony.
The Human Being dance, ending four days before the Karok,
is so timed that the Karok will begin on the day when the moon
rises as the sun sets. As the Karok lasts four days, this will give
the light of the full moon for the dance and ceremony of the final
day. Thus if the Human Being dance ends on Monday, the Karok
begins on Thursday, terminating on Sunday night, the ceremony
including the dawn of Monday. With this sequence of days the rela-
tives of the persons to be honored would gather on Wednesday and
the shack for the lamentations would be built on Thursday. This
shack was made of green willows and under it the
erying would continue for four days and nights.
The entire company would have gathered by Fri-
day night or early Saturday morning. The event
of Saturday was the building of the shack where
the ceremony would be held. This was made of
very dry arrow weed and dry poles. There was
a prescribed manner for gathering this material.
The persons going to secure it went together for a
certain distance, then separated into two groups,
one going one way and the other going another, but
both traveling toward the east. About noon they
met at the place where they had separated and re-
turned together, bringing the material. Then they
went back to the green willow shack. Certain men
built the ceremonial shack in the afternoon. ‘This
was oblong in shape, the length extending north TT eae Sneak
and south. (Fig. 6.) They rested that night and memorial cere-
went into the ceremonial shack early Sunday morning. Bi
During Saturday night the preparation of the images was com-
pleted, This was done in a very secluded place, perhaps a mile
from the place where the ceremony was to be held. The making
of the framework has been already described. The final work con-
sisted in the modeling and painting of the face, the placing of the
hair, and the clothing of the image. The round wooden ball which
formed the framework of the head was covered with a reddish gum
made by boiling the root of arrow weed and mashing it. ‘This was
modeled while warm and made to represent as nearly as possible
the features of the deceased person. It is said that a striking re-
semblance was often attained. A hole was made in the top of the
head, the hair was inserted and brought down around the face,
which was painted in accordance with the custom of the person
when in life.
A
76 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
On Sunday morning the relatives of the persons to be honored and
all the company are gathered in the green willow shack, and the
images are brought thither from the east, usually a distance of -
about 100 yards. Each image is brought by a “ carrier,” who holds
the image in front of him, grasping it with both hands by the cross-
bar at its hips. They “dance” the images up and down as they
advance. In front of the images are the singers walking in a line,
and the speaker is usually at the right of this line of singers. The
strange procession pauses at four places on its way to the shack, and
the speaker makes a speech in the “secret language.” This is a
formal speech, repeated by rote, and mentions the “ wind directions.”
After each speech the singing is resumed, the images are “ danced,”
and the procession moves forward.”® During this time the relatives
are facing the east, crying and lamenting.
The images are brought into the shack, the carriers “stand them
in a row” in the middle of the shack, cover them with a sheet, and
go away. The relatives then stand, each near the image of his or
her dear one, and cry the rest of the day. For a little time they
have looked upon familiar features and garments, now concealed by
the white cloth. In a few hours they will see all this consigned to
the flames, and forever after they will be forbidden to mention or to
weep for the dead. All the memories of the cremation crowd upon
them. It is a drama of primitive intensity. During this day there
takes place an enactment of scenes associated with the warpath. Cer-
tain persons have been asked to take charge of this and are selected
from among the older members of the tribe. They are divided into
two parties, one representing the Yuma and the other the enemy.
They enact the scouting and trailing of the enemy and a “sham
battle.”
On Sunday evening, just after sunset, a ceremony is begun pre-
liminary to the burning of the images, which takes place early the
next morning. ‘The singers take their places in the shack, standing
in three lines which extend north and south. The leader is at the
center of the middle line with one helper at each side. (Fig. 6.)
There are about 10 men in this line and they face the east. Another
line of about the same length stands fronting them and thus faces
the west. Back of the line in which the leader stands are an indefi-
nite number of singers also in a line facing east. These comprise
the younger singers. When the singers sit down they sit on their
heels, rising at a signal from the leader who holds the rattle. Joe
Homer is in charge of the ceremony at the present time. Although
he is blind he has such a clear mental perception of the tempo of the
songs and the proper length of time between each song that, at a
*6 Luke Homer, the writer’s interpreter, has acted as a carrier of the images.
DENSMORB] YUMAN AND YAQUI MUSIC 74
recent ceremony, he led the songs beginning at sunset and concluded
them within five minutes of 12 o’clock. He received these songs from
his father, Charles Wilson (pl. 1), who recorded many for the pres-
ent work (Nos. 20-26, 40-56). Wilson said that the Creator com-
manded the Yuma to have this ceremony and gave them the songs,
which they still use. The meaning of the words has been forgotten,
but the order of the songs is preserved and the words are repeated by
rote. As stated elsewhere, no group of these songs contains more than
four and some contain only two or three songs. Each must be sung
four times, after which the leader may end the singing at any desired
time. These are the only songs ended in this manner. A further
peculiarity of these songs is the prolonging of the final tone in a
nasal humming sound. These songs, like those of the Akil, are in
pairs. The three songs next following were sung at about midnight
and the next two songs constitute a pair.
No. 20. Memorial Ceremony Song (a)
(Catalogue No. 1189)
Recorded by CHARLES WILSON
P = 11
DS peianse tonality
Analysis—This is the first of a series of seven songs which
appear to be based upon successive intervals rather than upon a
relation of the tones to a keynote. This song is classified as irregular
in tonality. The signature of two flats indicates the pitch of certain
tones, but does not imply an established key. A descending fourth
is used effectively in many of these songs. The tones of the present
melody are D, E, F, suggesting the key of D minor; a few measures
78 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
later, however, the melody descends to B flat and the remainder of
the melody consists of the tones B flat and D. The change of tempo
is unusual and interesting, with the return to the original tempo at C.
The final section of the song is characterized by quarter notes.
Ascending and descending intervals are equal in number and consist
chiefly of major thirds, this interval constituting 67 per cent of the
entire number of intervals.
No. 21. Memorial Ceremony Song (b)
(Catalogue No. 1190)
Recorded by CHARLES WILSON
Analysis—The principal intervals in this song are the minor
thirds F sharp—A and © sharp-E. The tone B in the seventh and
fourteenth measures seems to have little relation to the rest of the
song. There is something strangely impressive in the short, monot-
onous phrases of the latter part of the song and the ascent to the
final tone, which is prolonged to a length of four measures.
DENSMORE] YUMAN AND YAQUI MUSIC 79
No. 22. Memorial Ceremony Song (c)
(Catalogue No. 1191)
Recorded by CHARLES WILSON
Analysis —The keynote of this song occurs only in the fourth
measure, this occurrence being on the last count of the measure.
This initial interval of a major third, however, provides an opening
which is in contrast to the song next preceding. About two-thirds
of the remaining progressions are minor thirds between the upper
tones of the major triad. The tone B, occurring about midway
through the song, gives the slight variation in interest that often
appears at this part of an Indian song.
A small bell is rung at exactly midnight. At some time be-
tween midnight and the procession of the images there is a dance
in which each man is given a downy white feather. They receive
these while seated flat on the ground and dance in that position,
holding the feather inclosed in their hands. The dance consists
in thrusting the head forward and drawing it back, leaning for-
ward and then leaning back. The leader of the singers is the only
man with a rattle, and he directs the motions of the entire com-
pany, while his helpers, usually two to four in number, sing with
him. The next three are songs of this dance and form a group,
the motions of the people being the same with all these songs. Dif-
ferent motions were used with other groups of songs.
67183—32——T
[ BULL. 110
BUREAU OF AMERICAN ETHNOLOGY
80
No. 23. Memorial Ceremony Song (d)
(Catalogue No. 1192)
Recorded by CHARLES WILSON
2 112
d
Analysis —The tones of this melody consist almost entirely of
the two upper tones of am
tion (about 7
and therefore a large propor-
]
ajor triad
0 per cent) of the intervals are minor thirds.
The
as a short unaccented tone and the sixth occurs
keynote occurs only
onl
The melody
with little variety in the
.
opening of period B
cter to the
monotonous phr
a
g@ char
once, givin
V
’]
“ases
y)
contains many short
length of the tones.
YUMAN AND YAQUI MUSIC 81
DPNSMORE]
No. 24. Memorial Ceremony Scng (e)
(Catalogue No. 1193)
‘HARLES WILSON
‘
Recorded by ¢
Analysis——There is an effect of sorrow in the progressions of the
first seven measures of this song which is continued throughout the
melody. This effect seems to lie in the sequence of F sharp—C sharp,
followed by E-C sharp. The prolonged tones indicate the period
of “dancing the images.” Sixty-eight per cent of the intervals are
82 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
whole tones and 23 per cent are minor thirds. In contrast to several
of the Memorial dance songs the keynote of this melody is frequently
repeated and strongly emphasized.
No. 25. Memorial Ceremony Song (f)
(Catalogue No. 1194)
Recorded by CHARLES WILSON
Analysis—This song contains only the tones of the major triad.
Its chief interest lies in the predominance of major thirds which
constitute five-sixths of the intervals. The measure divisions of the
first section (A) are reversed in the second section (B). This is a
form of thematic development that occurs less frequently in the
Yuman than in other Indian songs under analysis.
Before the images are burned they are carried in a ceremonial
procession around the shack. The carriers for the images are
usually the same who brought them into the shack, though one or
two may be changed. At the proper time they take their places,
each standing beside the image he is to carry. When the leader
begins the following song each carrier takes up an image, holding it
as before by the crossbar at the hips. They begin the circling of
the lodge with this song. The action of moving the images in this
manner was said to mean “ the dead are dancing.” On the prolonged
tones of the song they “ dance ” the image three times from one side
to the other, stamping the foot on the side where the image rests on
DENSMORE] YUMAN AND YAQUI MUSIC 83
the ground. The carriers pause a few seconds and then “ dance”
the image three times again. ‘Thus they may move the image to the
right, then to the left and right, stamping the corresponding feet.
The next motion would be to the left, right and left. The image is
heavy and its height makes it still more difficult to handle.
No. 26. Memorial Ceremony Song (2)
(Catalogue No. 1195)
Recorded by CHARLES WILSON
Analysis —The keynote of this song is strongly emphasized, in
contrast to several preceding songs of the present series. ‘The second
period (B) consists entirely of repetitions of the keynote except for
the descending semitones at the close. The measure division of
period A is reversed in the middle portion of the song but reappears
in the final phrase. The interval of a fourth, frequently noted in
songs concerning motion, constitutes 43 per cent of the intervals in
this song, the interval next in frequency being a minor third.
In making the circle of the shack they pause and sing a song at
each of the four corners. The procession is led by Joe Homer, the
blind man, and it is said that he always stops at the right place as
he counts the steps from one corner to another. Only one of these
songs was recorded. This was the song which was sung when the
procession paused at the northwest corner of the shack, and the mel-
ody was found to be the same as that of No. 26.
The procession moves around the outside of the shack, the car-
riers with the images dancing backward and the singers moving for-
ward. After encircling the shack the singers return to their first
position and the carriers pause a short distance in front of the shack.
(Fig. 6.) After this pause they also enter.
84 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110°
At the east, at a distance from the shack, a group of men are
making arrows. Four songs are sung as they put the feathers on —
four arrows and fasten the feathers by wrapping with green sinew.
The arrows are placed upright in the ground in groups of four.
Meantime certain men are making a large shield.*” In old days this
E
NS
WwW
Rk oo)
‘ : ore a 40
+ * OF +0
Mere ok a
» or +0
+4 —%) - oF +0
AO cy SC. h
My
+
+
+
‘ R
+ +
- +
4 +
if +
Fy Qronpatiqtgiotgn de Laci ge especie Dk
igure 6.—Diagram of memorial ceremony: a, Singers facing west; b, ec,
singers facing east; d, archers; e, e, assistants to leading singer;
f, leading singer; g, shield; h, images; i, relatives of persons repre-
sented by images; xX, spectators.
was made of deerskin, but at present it is made of canvas stretched
over a hoop, about 3 feet in diameter. The hoop is made of a “ very
sacred weed” which is pliable. The shield is placed on a light
frame, or easel, in front of the shack and at a distance of about 100
feet from it. Four feathers are stuck in the hoop, one song being
sung after each feather is put in place.
The singing and dancing continues until about 3a.m. Four songs
are sung and the people form an aisle outside the shack and extend-
27“ This, except for an allusion to its use by the Dieguefio, is the most westerly known
occurrence of the shield, whose distribution stretches through the Pima and Apache to
the Pueblo and Plains tribes. Neither the Yuma nor the Mohave, however, appear to
have used the implement very extensively in actual warfare, and there is no mention of
any heraldry in connection with it.’ (Kroeber, Handbook of Indians of California,
Bull. 78, Bur. Amer. Ethn., pp. 792-793.)
Ri,
DENSMORB] YUMAN AND YAQUI MUSIC 85
ing toward the east. The images are in the front row on either side,
back of them are the relatives carrying the gifts to be burned with
the images, and the people are in the rear. The shack is then set on
fire. Four songs are sung, which conclude the singing. Immedi-
ately afterwards the archers shoot the four arrows into the shield,
rush forward, snatch the shield from its place and throw it into the
blazing shack. Then they run down the aisle of people toward a
body of water and jump into it. These men wear no clothing except
the breechcloth and their faces are painted black and white, each in a
solid color except that the men painted white have a black spot on
each eyelid. It is required that they go down four times before
coming out of the water. The desert nights are cold and this feat
is undertaken only by men who have such “medicine power ” that
neither heat nor cold can harm them.
When this has been done a certain man directs the carriers to take
the images straight south to where a pile or “nest” of dry arrow
weed has been prepared. The images are laid on the arrow weed
face downward, as the body is laid for cremation, and the arrow
weed is lighted by the same man who lights the fire at a cremation.
The relatives circle around the fire, wailing and throwing gifts into
the flames, it being the belief that these gifts go to the dead.
All the people go home directly after the Karok. The relatives
of persons who have been honored (by the burning of their images),
and also the leaders of the ceremony, eat very little food for four
days and abstain from lard and salt. In describing the Karok it
was said, “ This was an example to the world that it would be in
images that the dead would come back. It will not be the whole
person that comes back. The first coming back will be at the time
of the cremation, the second will be in images at the Karok, but it
can be only twice that the dead come back. When they go away
after the Karok it is forever.”
COCOPA CREMATION LEGEND
The translation of this legend and the words of the songs was made
possible by the cooperation of two interpreters, Nelson Rainbow
translating the Cocopa into Yuma and Luke Homer translating the
Yuma into English. This series of songs is called Sa’wi (Cocopa),
meaning buzzard, the Yuma term being Sa’wi. Only one Cocopa
knows these songs, and he, after some persuasion, consented to sing
them. This singer (pl. 27, 6) is known by the English name Clam and
is called Axlu’m by the Cocopa, this being a mispronunciation of the
word “clam.” He said that he received this name when he lived by
the sea in Mexico. The Cocopa songs were recorded near Somerton,
in the extreme southwestern portion of Arizona, where a few Cocopa
86 BUREAU OF AMERICAN ETHNOLOGY (BULL, 110
from Mexico were living but were not yet enrolled as United States —
Indians. These songs were accompanied by the shaking of a gourd
rattle and the words were in an obsolete language. The meaning —
was known to the singer and the words are given in approximately
the words of the interpreter.
In explanation of the songs it was said that in the beginning there
were two beings who rose from the bottom of the earth. One caused
light and created human beings and the other was destructive. The
present series of songs relates to the death *7 and cremation of the
second, who will be referred to as Superman. The Cocopa term is
Me’sipa, which is used in no other connection. The Yuma term is
Koma’stamho, After his death some of the people changed into
birds and animals, but the next generation was composed entirely of
human beings.
Each song in this group is preceded by the singer’s description.
This can scarcely be considered as a translation but indicates the
content of the words.
The next song states that although the Superman was in a serious
condition he would not admit that he was sick. His children, who
surrounded him, said they would try again and ask him of his
condition.
27“ This concept of the dying god and of the mourning for him is universal among
Yumans and Shoshoneans and is probably the dominant and most poignantly felt motive
of every mythology in southern California. Its analogue in the Aztec Quetzalcoatl story
has already been commented upon, but it is important that no parallel is known among
the Pueblos or any true southwestern people. There may have been connections with the
central and south Mexican story through Sonora. But except for dim suggestions, the
development of the idea is probably local. All the Californians make much of the origin
of death. ... Certain considerations indicate that the dying god concept developed in
southern California proper, where its ritualistic counterpart also has its seat, and inclines
the balance toward a Shoshonean rather than a Yuman origin for the idea and its prin-
cipal associations.’’ (Kroeber, Handbook of Indians of California, Bull. 78, Bur. Amer.
Ethn., p. 790.)
DEN SMORE] YUMAN AND YAQUI MUSIC 87
No. 27. The Illness of the Superman
(Catalogue No. 1256)
Recorded by CLAM
Voice @ = 80
Rattle @ = 80
See rattle-rhythm below
Rattle rhythm
PPR BPP
Analysis—The rhythm of this song was given with crispness, the
rattle coinciding with the voice and continuing through the portions
of the measures during which the voice was silent. Progression is
chiefly by whole tones which comprise 70 per cent of the entire num-
ber of intervals. The remaining intervals consist of 10 major thirds
and 6 semitones. Ascending and descending intervals are about equal
in number. The song was sung with the repeated portion as indi-
cated, after which the last 12 measures were sung twice. ‘These repe-
titions were without a break in the tune.
They have failed. In reply to their inquiries the Superman said
that he was not sick. In doing so he set an example for wise men to
follow, and to this day such men will never admit that they are sick,
though they may be in a dying condition. But the children of the
Superman still insisted that he was very sick.
88 BUREAU OF AMERICAN ETHNOLOGY [BULL 110 _
No. 28. The Superman Sets an Example
(Catalogue No. 1257)
Recorded by CLAM
Voice é = 92
Rattle d = 92
Rattle-rhythm similar to No, 27
Analysis—This song progresses chiefly by fourths and semitones,
the former being 15 and the latter 14 in number. They occur with
equal frequency in ascending and descending progression. Other
intervals are minor thirds and major seconds which also are about
equal in ascending and descending order, yet the melody is far from
being monotonous. Attention is directed to the peculiar phrasing in
the seventh to the tenth measures. The first portion of the song (10
measures) was sung three times before the singer proceeded to the
remainder of the song. The rattle occasionally omitted one stroke
at the end of a measure, resuming with a sharp accent on the first of
the succeeding measure.
When it was evident that the Superman was growing rapidly worse
his children said, “ You are passing away. Your eyes show that you
are growing weaker and yet you do not seem to hear what we are
saying. We still ask and beg you to speak to us for the last time.”
DENSMORE] YUMAN AND YAQUI MUSIC 89
No. 29. The Superman Grows Weaker
(Catalogue No. 1258)
Recorded by CLAM
Voice d = 88
Rattle d = 48
Rattle- rhythm similar to No. 27
Analysis.—This melody lies chiefly below the keynote, which is an
unusual formation in the songs under analysis. The only tone higher
than the keynote occurs in the opening measures. The song is char-
acterized by a gliding of the voice on descending intervals followed
by a rest, the glissando extending below the transcribed tone and
gradually trailing into silence. More than half the intervals are
whole tones.
A song not transcribed stated that his children continued to
beseech him, saying that he seemed to like the ground on which he
lay (had no inclination to rise from the ground), and this was a sign
that a person would soon pass away. Another song stated that a
bug tried to ease him by digging into the ground and bringing up
cool sand which it placed on his breast, but this had no effect.
Finally the Superman spoke and said, “I love you, my children,
so much that I do not wish to speak, and at the same time I feel as
though I were sleepy and could never have any life in me again.”
90 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110
No. 30. The Superman Speaks
(Catalogue No. 1259)
Recorded by CLaM
Voice d = 88
Rattle d = 88
Rattle-rhythm similar to No. 27
Analysis ——The rhythmic unit of this song is the same as in the
next preceding, and the general structure of the two melodies is
similar, but the highest tone of the compass occurs more frequently
in the present melody. Asa further difference between the two songs
we note that the present melody contains no change of measure
length. Attention is directed to the descending sequence of tones in
the sixth measure, which is unusual in recorded Indian songs. The
repeated portion was sung three times in each rendition.
The Superman continued, saying, “As I have said before, and in
addition to what I have said, I have in my mind the four corners of
the earth. Among these I may choose the place to which my spirit
will go, but I have not yet chosen.”
No. 31. The Four Corners of the Earth
(Catalogue No. 1260)
Recorded by CLAm
Voice A = 84
Rattle @ = 84
Rattle-rhythm similar to No. 27
|
DENSMORE] YUMAN AND YAQUI MUSIC 91
Analysis.—The steady rhythm of the rattle was interrupted twice
in each rendition of this song, these interruptions being at the voice
rest in the seventh measure (one stroke) and in the final measure
(two strokes). The repeated portion, including the connective
phrase, was sung three times. The song is major in tonality, has a
compass of an octave, and contains all the tones of the octave except
the fourth. More than half the intervals are minor thirds, and the
melody (after the third measure) is based upon two minor thirds—
F sharp—A and C sharp-E. The song closes with the ascending
interval which characterizes many songs of the present series.
Then the children took hold of his legs and laid him with his feet
toward the east. He lay in that position but was not satisfied, so
they turned him with his feet toward the north. He said, “ No; L
do not choose this position.” So they turned him toward the west,
and after lying there he refused also to follow that direction. So
they laid him with his feet toward the south, and in that position
he held himself until he passed away, a few moments afterwards.
In taking such a position he set an example to coming generations,
showing that when they die their spirits will go toward the south.
No. 32. The Superman Dies
(Catalogue No. 1261)
Recorded by CLAM
BSS 48 1 ase
Ba i oe eee)
Be a7 45 6S ee
eet ae ee
et fret I
DPDID Dd DDD ddr dD dddD dda
Analysis—This song was sung with a quavering tone. (Cf. No.
38.) It contains no interval larger than a major third, the other
intervals comprising six minor thirds and eight semitones. In
rhythmic structure the song comprises three periods of four
measures each.
While the fire of the cremation burned brightly Coyote traveled
toward the place. It was said this coyote was “one of the very
wild sort that no one ever sees.”
92 BUREAU OF AMERICAN ETHNOLOGY [BuLD. 110
No. 33. Coyote Comes to the Cremation of the Superman
(Catalogue No. 1262)
Recorded by CLAM
Voice d = 80
Rattle d = 80
Rattle - rhythm similar to No. 4
Analysis —The repetitions of this song began on D instead of KE,
giving a more harmonic effect. In this, as in a majority of songs
in this series, the keynote is near the top of the melody, which ends
with an ascending progression. The melody tones are those of the
fourth 5-toned scale. The principal intervals are the fourth and
minor third, the latter comprising more than half of the intervals,
though the song is major in tonality. The song consists of six
phrases, all having the same rhythm. Two renditions were recorded,
the second ending at the eighth measure of the transcription.
The animals were standing in a circle around the fire and the
buzzard asked them all to stand firmly and keep as close together
as possible, but there was one animal that was very short. Coyote
knew this and planned to break through the line at that point.
After Coyote had arrived he requested the animals in the circle
to kindly spread out so that he would have room to get inside and
to circle four times around the fire, after which he would find a
place where he could stand and cry (after the manner of those at-
tending cremations). But it was whispered from one animal to
another to keep their own positions and not move to admit him.
Coyote planned to seize the heart of the Superman and thought
that it would not burn him.
|
DENSMORE] YUMAN AND YAQUI MUSIC 93
No. 34. Coyote Plans to Seize the Heart
(Catalogue No. 1263)
Recorded by Clam
Voice pi = 126
Rattle @ = 126
Rattle-rhythm naar ‘a No. 4
1
Analysis —Quarter notes and eighth notes, in different groupings,
occur throughout this song and comprise the four rhythmic units.
Attention is directed to a comparison of these units with their slight
difference of note values. The only change from quarter and eighth
notes occurs with the use of a half note, midway the length of the
song. The rattle is in quarter note values and is continued during the
rests, when the voice is silent. As in many songs of this series, the
compass of the melody lies chiefly below the keynote.
4 BUREAU OF AMERICAN ETHNOLOGY (BULL, 110
A song, not transcribed, stated that the female buzzard warned
the animals, “ Coyote is somewhere near, though we do not see him. —
We must prepare to prevent whatever he attempts to do.” .
No. 35. Buzzard Tells the Animals What to Do
(Catalogue No. 1264)
Recorded by CLAM
Voice J = 76
Rattle P| = 76
Rattle-rhythm nue to No. 27
1
Analysis.—This melody is made especially pleasing by the acci-
dental which was clearly given. The phrasing was distinct and the
manner of rendition was conscientious. The song begins and ends
on the same tone and is based on the fourth 5-toned scale. About
half the intervals are minor thirds, though the song is major in
tonality. The rattle was in even eighth-note values and occasionally
omitted the last stroke in measures similar to the second measure,
the voice having a short rest before this count. The sharp, crisp
shaking of the rattle added to the effect of this lively melody. The
first measure of the first rhythmic unit varied somewhat in this
repetition.
DUNSMORD] YUMAN AND YAQUI MUSIO 95
No, 36. Coyote Makes a Request
(Catalogue No. 1265)
Recorded by Clam
Voice @ = 76
Rattle @ = 76
Rattle-rhythm similar to No, 27
Analysis.—A question and answer seem to be suggested by the two
rhythmic units of this melody, equal in length and comprising al-
most the entire song. The second unit occurs three times on the
same tones, which is unusual in these songs and gives an effect of
emphasis. Attention is directed to the phrase beginning in the
fourth measure which contains a rather impatient sixteenth followed
by a dotted eighth note, and therefore resembles the second rhythmic
unit. The melody tones are those of the fourth 5-toned scale, but
almost half the progressions are minor thirds. ‘These are almost
equaled in number by the major seconds, the remaining intervals
consisting of eight fourths. The rattle is without interruption and
coincides with the voice throughout the song.
The animals kept as close together as possible, but Coyote jumped
over the line and seized the heart of the Superman which the fire
had not consumed. He jumped out at the same place where he
entered the circle and ran as fast as he could toward the east. ‘Then
the buzzard said, “I knew something of this sort would happen.
Now that Coyote has taken the heart of the Superman, I do not
know what to do.”
67183—32——_8
96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 _
No. 37. Coyote Seizes the Heart
(Catalogue No. 1266)
Recorded by CLam
Voice i. = 88
Rattle & = 88
Rattle-rhythm similar to No. 27
Analysis.—This song is so short that the phonograph cylinder con-
tains 11 renditions. These are uniform in every respect. The only
tones are those of the minor triad and the fourth which is sharped
in its only occurrence. The melody is well adapted to the words of
the song.
When Coyote had traveled a long distance he stopped on a moun-
tain. He ate the heart and became unconscious with a powerful spell
cast over him. Immediately he died.
|
DENSMORE] YUMAN AND YAQUI MUSIC 97
No. 38. Coyote Eats the Heart
(Catalogue No. 1267)
Recorded by CLAM
Voice d = 120
Rattle P = 120
See rattle-rhythm below
Irregular in sonality
e
BS Ge Se 64S ©.
BY 3 SD S| iS Bs eee Ae
¥
Rattle-rhythm
Wed dead. 2
Analysis——The tones occurring in this song are F, G, A, B, and
C, with B as a prominent tone. The song next preceding was shown
to contain the tones of the minor triad and sharped fourth. This
song might be classified as containing the major triad and sharped
fourth, but because of the frequency of B natural it is classified as
irregular in tonality. The time was not so strictly maintained as
in other songs and the tone was quavering as though from weeping.
(Cf. No. 32.) Attention is directed to the ascending semitone, which
98 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
occurs seven times and was sung with a slurring of the voice. The
minor third constituted 12 of the 31 progressions. The rhythm of
the rattle can be indicated only approximately.
MOHAVE CREMATION LEGEND
This class of songs is called Tuma’nt or (according to Kroeber)
Tumanpa. These were sung in the afternoon of a cremation by a
close friend of the deceased. A series of seven Tumant songs was
recorded by Billie Poor, a Mohave who lived on the Yuma Reserva-
tion. All the phonograph records were studied and two were tran-
scribed, but the melodic trend and general rhythm were so similar
that only one is presented (No. 39).
It is said these songs were received in a dream by an old woman
who used them in her treatment of the sick. An old man sang the
songs for her, but she dictated the order and told him which to sing
next.2* The songs were in regular order and all were accompanied
by the shaking of a gourd rattle. When used in treatment of the
sick, they could be sung two successive nights. At the present time
they are sung in the days that precede the Memorial ceremony and
can be sung at any general gathering. The words of the songs are
concerning the sickness, death, and cremation of a “ deity ” called
Ma’tavil’, and the legend is a Mohave version of the Cocopa legend
immediately preceding.
As an introduction it was said that Matavil was sick and it was
evident that he could not live long, so the neighbors were called in.
The words of the next song. are those of the sick man, who realized
his condition.
*8'This is in accordance with the custom of Owl Woman, a Papago, who treats the sick
with songs received in dreams, the songs being sung at her direction by Sivariano Garcia.
(See Bull. 90, p. 114.)
DENSMORE] YUMAN AND YAQUI MUSIC 99
No. 39. “I am Going to Die”
(Catalogue No. 1288)
Recorded by Poor
A descending fourth characterizes the first portion of
Analysis.
this melody, while the second portion consists chiefly of minor
thirds. The performance continued longer than shown in the tran-
scription, the remainder of the phonograph cylinder containing mate-
rial similar to the transcription with the phrases in irregular order.
The most frequent intervals are fifths, fourths, and whole tones.
The succeeding songs relate that he lay down and grew steadily
worse. He said, “ Tell the neighbors that it is getting dark, so I
can not recognize them.” In a later song, as he was dying, he said,
“You can see what a state I am in. I am struggling and tossing
about.”
A woman was treating Matavil and she felt that her medicine was
not working, so she consulted the neighbors. After this consultation
she thought that perhaps Badger could help her. So Badger dug
under the earth and got some sand and rubbed it all over the sick
man. The sand was cool and the sick man thought that he felt bet-
ter, but afterwards he became worse, and Badger said he could not
100 BUREAU OF AMERICAN ETHNOLOGY [BULL 110 —
be of assistance. The man died and the people surrounded him, for
they had never seen anything like that before. (It appears this was
the first time they had seen death.) It was said, “ No one knew what
todo. They just stood and looked at him.” Then came a very large
“screw worm,” who said, “I will get a light.” He took some willow
bark and an arrow-weed stalk, which he twisted. He made a spark
and the willow bark took fire, so they could see in the house. The
light made by the screw-worm fly was reflected in the sky in the east
and looked like a star.
When the sick man was dying he had made a wish. He said, “I
wish that Coyote would take after my heart and do what is right.”
Coyote thought this meant that he was to take the actual heart of the
man who died. The people knew that Coyote had the wrong idea,
and the old medicine woman tricked him. When the screw worm’s
light was seen in the east she said to Coyote, “ Go, flash your tail in
this light and get some fire for the cremation.” Coyote went away.
While he was gone the people piled the logs, put the body on the
pyre, and lighted it with the screw-worm’s light. Thus the crema-
tion was started while Coyote was absent. When he returned he
found the fire blazing and four tribes assembled to sympathize with
the friends of the dead.
The friends stood so close together around the fire that Coyote
could not get in. He walked round and round the crowd and as he
walked he came to the place where stood Skunk, Coon, Badger, and
Gopher. These animals were so short that he leaped over them.
The cremation was about half finished. He jumped in, snatched the
heart of the body, and ran away with it to the top of a peak west of
the present site of Tempe. He rested there and laid down the heart,
which stained the peak, so it is known to this day as Vi’ikwahas,
meaning Stained Peak, or Greasy Peak. From there he ran to
another peak which was on the shore of the ocean. From there he
went in to the middle of the ocean, where was a peak on an island,
and there he ate the heart of Matavil. That island is still called
Vi’niwa, from wa meaning heart, and vi meaning peak.
The Mohave term for Coyote is Huksa’ra, and the Yuma word is
Hatélwé’. Both tribes have many legends concerning Coyote, and
“it is known by them that the coyote is the slyest animal living.
He is always tricky and into some mischief.” This animal is
familiar in similar legends among other tribes.
TREATMENT OF THE SICK BY THE YUMA
The Yuma informant selected for this subject was Charles Wilson
(pl. 1), who has been mentioned in connection with the war cus-
toms, cremation, and Karok.
DENSMORE] YUMAN AND YAQUI MUSIC 101
Charles Wilson is a man believed to have supernatural power, and,
like men of his character in other tribes, his life is governed by strict
discipline. He fasts four times a year, in the spring, at midsummer,
in the autumn, and at midwinter, eating neither lard nor salt at
these times. On inquiry regarding him it was learned that he does
not habitually associate with people. He follows his own life, is
industrious, and people seldom see him except when they chance to
_ meet him on the road, but if he chooses to go into a gathering “ he
always has something funny to say and keeps everyone sociable
around him.” He is kind to his family and “does not say unkind
things about the Government nor about the Indians.” His manner
is that of a competent, conservative man who commands respect
from those around him. In general character he resembles the Chip-
pewa members of the Midewiwin, the Sioux who took part in the
Sun dance, and similar men with whom it has been the writer’s
privilege to confer.
Charles Wilson is said to have such “medicine power” that
neither cold nor heat can harm him. ‘Thus he could swim across the
Colorado River in winter without danger. It is said that he secures
fish when the people are in great need of food. He takes one man
from each family and they go down to the river in the early morning.
He wades into the water chest deep and catches fish in a triangular
scoop net, after which he gives one or two fish to each representative
of a family, that all may be fed. It is further said that he “can
prevent a gun going off,” an incident being related in which a loaded
gun failed to go off when he said this would occur.
The Yuma believe that the spirits of the dead are in a spirit land
where they live and “have melons the year round.” Wilson goes
to the spirit land in his dreams. He comes and goes among the
spirits, but they pay no attention to him. On his first visit he
heard a man making a speech. He could not understand it, though
he could see that the spirits knew what was being said.
The father of Charles Wilson had power to treat men who had
been, shot in the chest. Wilson received power to do the same,
receiving this power from his father according to the custom of the
tribe. If a father, grandfather, or other near relative wishes to
transmit his medicine power to a young boy he causes the boy to have
a long illness and cures him, after which the boy is believed to have
the medicine power of the older man and receives the songs that
accompany its use. Wilson’s father had certain songs that he had
received in a dream and used in his treatment of the sick, the words
of these songs being in a “secret language.” ‘These songs were
learned by Charles Wilson and are presented as Nos. 40, 41, 42,
and 43.
102 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
The first use of “medicine power” by an Indian appears to be —
regarded somewhat as an experiment. (Cf. Bull. 86, p. 81.) Wil- —
son’s first treatment of the sick was under the following circum-
stances: An Indian went to town, entered a store, took a trunk on
his back, and started to walk away with it. The storekeeper shot
the man through the chest. Wilson’s father was summoned and
began to treat the man, then he turned to Wilson and said, “ Try
your power; this is a good case for you to begin on.” Accordingly
Charles Wilson took the case and cured it, the man living for many
years. Wilson also cured a young man who had been shot three
times in the chest and once in the arm, and he has power over disease _
as well as accidents affecting the chest. He was said to have treated
double pneumonia and an acute heart attack without singing, but
when he treated a man who had chopped off part of his foot he sang
the same songs that he uses when treating a gunshot wound in the
chest. Numerous other cures were related and it was said that he
had never “ lost a case.” On being questioned he said that he does
not believe in what is commonly called “ bad medicine ” or “ bewitch-
ing people.”
When examining a patient for some uncertain ailment Wilson
places his hand on the person’s flesh and holds it there until he “ gets
the sensation in the palm of his hand.” ‘Then he moves his hand to
another place. Sometimes he says that he can cure the patient, and
sometimes he advises the person to go to some one else, known to treat
the disease with which he seems to be afflicted. Sometimes he treats
headache by sucking blood from the patient’s forehead and spitting
the blood from his mouth.”
Wilson said that he does not “ absolutely promise ” to cure a sick
person when he undertakes a case, but he inspires full confidence in
that result, and it is interesting to note in the following description
that he requires the sick person to say that he feels better. The
treatment is limited to the singing of four songs and lasts about
half an hour. Wilson said he requests the spectators to move about
in a natural manner during the treatment and especially requests
that they appear cheerful. The relatives are forbidden to cry or to
smoke, and it is not customary for them to eat or to drink water
during the treatment. Wilson said, “I also must go without water
and must not drink until the sick person says he feels better. Then
I and the patient are at liberty to drink water and have what we
want to eat.”
*” Kroeber states that among the Yuman tribes ‘“ there is no theory of disease objects
projected into human bodies. Hence the physician sucks little if at all. The patient’s
soul, his ‘shadow,’ is affected or taken away ... and he counteracts this power with
his own, with song or breath or spittle, blowing or laying on of hands or other action.”
(Handbook of Indians of California, Bull, 78, Bur. Amer. Ethn., p. 775.)
DENSMORE] YUMAN AND YAQUI MUSIC 103
The treatment of a patient unconscious from a gunshot wound in
the chest was described as follows: In preparation for the treatment
the patient is seated facing the east in the middle of an open space
perhaps 8 or 9 feet in diameter. Wilson begins singing when about
25 feet away. He stands facing the north, then the west, south, and
east, after which he rushes toward the patient. On reaching the
open space he moves slowly in a large circle, gradually diminishing
these circles until he stands in front of the patient. Then he goes
around to the back of the patient and sings in both his ears, one after
the other, then blows in both eyes and both ears, and taps the top
of his head. After a rest of perhaps five minutes he sings the
second song and repeats the treatment. Before he has given the
treatment four times the patient has regained consciousness and
vomited clotted blood.
In describing the songs and their use, Wilson said, “ When I rush
toward the patient my full intention is that he shall regain con-
sciousness. That is my feeling when J sing the first song” (No. 40).
This song mentions “an individual who has power.” No informa-
tion was obtained concerning this individual, but it was evidently
expected that he would exert his power in behalf of the patient.
Wilson’s “ feeling” when he sings the second of his four songs
(No. 41) is that the hemorrhage will cease. This song mentions a
small insect that lives in the water and has power over the fluids
of the body. It is believed this insect and the one named in the
next song respond when they are called and exert their power to
aid the sick man.
His “ feeling” when singing the third song is that the patient
shall recover the power of motion. This song (No. 42) mentions
an insect that “ perches anywhere and is very lively. It bobs up
and down all the time and has a great deal of motion.”
His feeling when he sings the fourth song (No. 48) is that the
patient must recover the power of speech. At the end of this song
he asks the patient how he feels, and it is said that “he has always
answered that he felt better.” This song mentions a certain sort
of buzzard that has white bars on its wings and flies so high that it
is out of sight. This buzzard “ sees all that goes on; he watches by
day and rules by night.” He has great power himself and he also
has an influence over the insects named in the previous songs, increas-
ing their power. It is said that “ Each of the insects does his best,
but it is the buzzard whose great power gives the final impetus and
cures the sick man.”
Wilson said the patient invariably suffers a recurrence of his
difficulty in about six months. If Wilson is notified and gives the
patient another treatment the cure will be permanent. No one except
[BULL. 110
BUREAU OF AMERICAN ETHNOLOGY
104
but
Wilson warned him of the recurrence,
An incident was related in which a man belittled the result
himself can give this second treatment and without it the patient
of the first treatment.
will die.
When it came the man did
not send for Wilson and he died in a short time.
the man did not believe it would occur.
No. 40. Song When Treating the Sick (a)
(Catalogue No. 1196)
Recorded by CHARLES WILSON
c
9 SS. Bae Ss a ee
DENSMORP] YUMAN AND YAQUI MUSIC 105
Analysis —The opening phrases of this song contain eight measures
each. ‘The lengths of the phrases in the remainder of the song are not
uniform. The rhythmic unit is that which occurs in all songs used by
Wilson when treating the sick. It is an interesting phrase and is both
soothing and enlivening. In this song the first measure of the unit
is sometimes in 5-8 and sometimes in 2-4 time, probably due to
differences in words. The song does not contain the “refrain” or
short portion, near the close, which characterizes many Yuma songs,
but this may be due to the fact that the phonographic cylinder was
not long enough to record an entire performance. ‘The portion trans-
eribed was two minutes in length, after which the phrases succeeded
one another in an irregular order. ‘The song as transcribed is major
in tonality, contains all the tones of the octave except the seventh, and
progresses chiefly by whole tones.
(BULL. 110
(Catalogue No. 1197)
BUREAU OF AMERICAN ETHNOLOGY
No. 41. Song When Treating: the Sick (b)
Recorded by CHARLES WILSON
106
i
i
¢
B
DENSMORD] YUMAN AND YAQUI MUSIC 107
Analysis ——The interval of a minor third comprises 71 of the 102
progressions in this song, contrasted with the song next preceding
which progressed chiefly by whole tones. This is interesting, as it
shows an individuality in songs which appear to be similar and have
the same rhythmic unit. The song has a compass of seven tones and
is based on the fourth 5-toned scale. The third period (C) contains a
change of melodic feeling and no occurrence of the rhythmic unit.
[ BULL. 110 ©
BUREAU OF AMERICAN ETHNOLOGY
108
ick (c)
ing the S
Song When Treat
42
No.
(Catalogue No. 1198)
Recorded by CHARLES WILSON
SS 2. GE A ee
vn Ur. ae
an eS
BNSMORP] YUMAN AND YAQUI MUSIC 109
Analysis—The same compass and tone material are found in this
song as in the song next preceding. The number of minor thirds is
exactly the same, but the progression is reversed, the preceding song
containing 34 ascending and 37 descending and this melody contain-
ing 37 ascending and 34 descending minor thirds. The preceding
song contained 9 ascending and 5 descending fourths and this melody
contains 6 ascending and 9 descending fourths. The preceding
song contained 45 whole tones, chiefly in descending progression, and
this melody contains 36 whole tones, chiefly in ascending order. The
portion transcribed is that which arrives at a satisfactory ending, but
the performance continued to the end of the phonograph cylinder
with the phrases repeated in irregular order and in a monotonous
manner. Throughout the Indian songs which have an element of
-magic we note a monotony with slight unexpected change. Attention
is directed to period B, which introduces an emphatic rhythm on
repetitions of one tone. This suggests that the medicine man, having
begun his work by soothing and cheering the patient, is now becoming
somewhat urgent. The rhythmic unit is the same as in other songs
of the group and does not occur in the second period.
[BULL. 110
BUREAU OF AMERICAN ETHNOLOGY
110
No. 43. Song When Treating the Sick (d)
(Catalogue No. 1199)
Recorded by CHARLES WILSON
é: 88
DENSMORB] YUMAN AND YAQUI MUSIC 111
Analysis.—In the final song of this series we find the same rhythmic
unit as in preceding songs of the group and the same tone material
as in the two songs next preceding. The indeterminate ending also
characterizes the song, the portion transcribed being of a satisfactory
length, after which the performance seemed to be less coherent, con-
tinuing to the end of the phonographic cylinder. The song is char-
acterized by short phrases followed by rests, and we note that after
this song the doctor asked the patient if he felt better. The melody
is somewhat monotonous and does not contain the repetition of a
single tone which marked the preceding song. The general effect of
the song is cheerful and the proportion of fourths is less than in the
preceding song. The minor third constitutes more than half the pro-
gressions, but this interval is not associated with sadness in the
Indian songs which have been observed.
YUMA LIGHTNING SONGS
The following group of songs was recorded by Charles Wilson,
who also supplied the information concerning them. The name of
the group is Hurau’, meaning Lightning. Wilson said that he re-
ceived the songs in a dream from White Cloud (Akwe’kwaxma’l),
who controls the hghtning, thunder, and storms, and for this reason
he regarded them as sacred. He recorded the first two songs on his
first visit to the writer’s office and the act caused him such anxiety
that he could not sleep that night. The purpose of the work was
carefully explained and the remainder of the series was recorded
without anxiety at a subsequent time.
Wilson said that White Cloud appeared to certain medicine men
in a dream and gave them power to bring rain or to cause a sand
storm. Ifa man with this power were with a war party he could
summon a sand storm to conceal the warriors. A certain bug has
power over the storm. This bug may appear to a man in a dream,
go through the following performance, and teach him the songs.
In such a dream the bug drags his tail on the ground, wriggles it in
some way, and causes the dust to rise. This increases as he speaks
and gives commands until the dust raised by his own performance
covers the whole earth. Wilson said he had seen a dust storm pro-
duced by men with this power, but added modestly, “As to myself, I
have been shown only this much, to tell this story of White Cloud at
a gathering on this earth.”
The narrative embodied in the Lightning songs is concerning the
journeys and demonstrations of power by White Cloud as a “ wonder-
child.” Wilson said, “He has only one bow and one arrow. He
holds them in his hands, and whenever he swings his bow in any
67183—32——_9
112 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
direction it lightens and when he moves his body it thunders.” *°_
The songs are in groups of three, each group having the same tune ~
but with different words. Only one of a group was generally re-—
corded, though in one instance an entire group of three with the same
melody were found on the phonographic cylinders. The words of the
songs are summarized in the titles and are frequently in the first
person.
No. 44. “I Have Arrived in the Sky ”
(Catalogue No. 1200)
Recorded by CHARLES WILSON
eersat teas
Banas
2 GEE Ey 6 ee Eo
een vo
Analysis.—The tone material of this song does not conform to any
established key, but the first and third measure in section B suggest
the key which is indicated in the signature. This is used for con-
% Another informant said that if a medicine man wished to bring on a sand storm he
made a speech known only to himself and then sang a song. Immediately the storm came.
This informant said, ‘“ The Lightning story is dangerous.’ His version was concerning
a boy named Kwayawhumar, who says at the end of the story, that people will always
know where he is but will never see him. This boy “lives up in the sky where it is all
frozen snow; in the spring he goes hunting and every time he draws his bow it causes
lightning and when his arrow strikes something it causes the thunder.”
DENSMoRB] YUMAN AND YAQUI MUSIC 113
venience in designating the pitch of the melody tones, with D flat as
an accidental. The song is unique and worthy of special attention.
The first period (A) consists of two phrases, each containing 10
measures. These phrases comprise a repetition of a 3-measure rhyth-
mic unit followed by the second rhythmic unit which contains four
measures. The next section (B) opens with four repetitions of the
first rhythmic unit, followed by two repetitions of the last part of
the second unit, after which the song closes with a recurrence of the
10-measure opening phrase. ‘The remainder of the phonograph cylin-
der contains a repetition of the song with unimportant changes, such
as the substitution of a quarter for two eighth notes. Such changes
might be made necessary by the use of different words in repetitions
of the song.
No. 45. “The Sky is in Darkness ”
(Catalogue No. 1201)
Recorded by CHARLES WILSON
Voice d = 66
Drum @ = 66
See drum-rhythm below
Drum rhythm
[ddd rIdddr Iddd7|
Analysis —It will be noted that the time unit of this song is half
that of the preceding song. As the melody contains the tones B flat,
E flat, and A natural it is transcribed with the signature of two flats,
but the tone B flat occurs only once in the song. The portion marked
B was sung several times, the initial tone being given with clear
114 BUREAU OF AMERICAN ETHNOLOGY [pu. 110
intonation. Like the preceding melody, this progresses chiefly by
whole tones.
The melody of the three next recorded songs is the same. In one
of these songs White Cloud says that he has seen a certain mountain
(near the present site of Indio) and is traveling toward it. In the
next three songs he named the mountain, calling it Avi’tinya’m,
which means Dark Mountain. The melody was repeated accurately,
and the transcription is from the second of the group.
No. 46. “On Top of His Own Mountain”
(Catalogue No. 1202)
Recorded by CHARLES WILSON
: ae) TE “— Ew
203 "Seo. (eves
Te a2
ST @ GE S/S
Analysis —The tone material of this song is unusual and consists
of 49 whole tones, 9 fifths, 9 major thirds, and 1 interval of a fourth.
The song is transcribed with the signature of three flats as a con-
venient manner of indicating the pitch of the tones, not as indicat-
ing an established key. It is interesting to note the accented tones
at the beginning of section C, after which the phrases are similar
to those of the first section.
DBNSMORB] YUMAN AND YAQUI MUSIC 115
In explanation of the following song it was said that, while the
Wonder-boy has traveled through the night Coyote has continually
seen the daylight. Coyote danced and sang this song.
No. 47. Song of Coyote
(Catalogue No. 1203)
Recorded by CHARLES WILSON
bP 8 — — © 8 ee 8 eo
Za SE ap J A 4 a a
4a Ea Sa PbS Bes Se Ge Be SS SS Sere ae,
es Se ee al oo ee a 72 De A
Analysis —This song is supposed to be sung by Coyote and we
note an entire change of melodic form and tempo. ‘The phrases are
shorter than in the preceding songs and the tempo is slower. The
phrase at the opening of section B, designated as the second
rhythmic unit, stands out clearly and is followed by repetitions of
the first rhythmic unit. The sixth was flatted, except in its first
occurrence. More than three-fourths of the intervals are whole
tones.
When White Cloud left Dark Mountain he went up into the air,
making a path in the sky. At last he found a place in the air
which pleased him so well that he called it his home.
116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 —
No. 48. “At the End of the Path in the Sky”
(Catalogue No. 1204)
Recorded by CHARLES WILSON
Analysis ——In this song we find a dignified, somewhat impressive
character befitting a song in which White Cloud announces the place
he will call his home. The phrases are short and the song con-
tains no rhythmic unit, yet the rhythm is carried forward with a
steadiness that is unusually interesting. As in a majority of other
songs of this series, the highest tone occurs in the third section (C).
The manner of use of the tone D is interesting. The tone ma-
terial is that of the key of EK minor, but, as in several other songs by
this singer, the sequence of the tones is at times rather awkward
to our ears. About two-thirds of the intervals are whole tones and
16 are fourths.
The next four recorded songs were not transcribed but are sum-
marized as follows: In the first songs White Cloud says that he has
made the path in the sky and found a place which he calls his home,
but he wonders how he can make a living. This is a pretense, as he
DONSMORB] YUMAN AND YAQUI MUSIC 117
knows what he will do. The next song is concerning the bats. The
singer said he has noticed the bats in the early night coming out and
dancing as he sings this song. The third song states that as White
Cloud stood in the same place he watched the circling clouds and
thought they were smoke. The words of the fourth song state that
while standing there he saw a bird called Meru’si and asked the bird
concerning its wanderings. The bird answered and said he had just
come from the east.
The remainder of the songs were sung in the latter part of the
night. In the song next following White Cloud expresses himself
as satisfied with all that he has seen and says that he will now
demonstrate his own magic power which will be shown in the sky.
[BULL. 110
BUREAU OF AMERICAN ETHNOLOGY
118
No. 49. White Cloud Declares His Power
ip
So
N
re
S)
A
E
aS,
oS
~
Gs]
S
za
io)
2
=
e
:
<
2]
2)
ca)
2
uo]
o
us)
u
°o
ov
vo
a
Voice 2) = 184
Rattle d :
92
J
J
ae
Rattle
DENSMORD] YUMAN AND YAQUI MUSIC 119
Analysis.—In this song White Cloud is saying that he will demon-
strate his power, and we note a particularly complicated relation of
voice and drum. The latter is in steady quarter notes, but the
melody is accented in eighth-note values at the beginning of each
phrase, the voice and drum being accented together on the last
measure of the phrase. The coincidence on this measure gives an
effect of emphasis. Section B is marked by the highest tone in the
song, and section C by the longest tone and by a change of rhythm.
About half the intervals are whole tones, but the song contains a
greater variety of intervals than any other of the series, the inter-
vals comprising fifths, major thirds, minor thirds, and semitones,
with one occurrence of a seventh and a fourth.
White Cloud says that he will be known by the lightning, thunder,
and rain in the sky, and that these will be continued, though he
may go away. During the next three songs he calls the clouds, the
lightning, and the high winds. They come at his command and fill
the heavens. The third song of the group was not transcribed.
[BULL.110
BUREAU OF AMERICAN ETHNOLOGY
0
No. 50. White Cloud Demonstrates His Power (a)
(Catalogue No. 1206)
Recorded by CHARLES WILSON
dddy hoe
Pe perme
1)
(
dhdy
dbha bddy Dd ds
)
DddD dddy
DDby DhHde Dds Shdy bdds dbdy
Drum indistinct
DODD dddy Pda
DNGN OMG aNs uN ce NN
(4
dh dy
MDh 4 HHL 4
Ddha Hhds
ada dy
DENSMORB] YUMAN AND YAQUI MUSIC 121
Analysis —In this and the song next following White Cloud is
exerting his tremendous power. In both these songs the minor third,
which has been absent or infrequent in the preceding songs, appears
with almost as much prominence as the major second. The drum-
beat in this melody is in interrupted eighths and is especially inter-
esting at the beginning of section D. The song has a compass of
an octave and the difference in pitch between the tones transcribed
as F natural and F flat was clearly given.
No. 51. White Cloud Demonstrates His Power (b)
(Catalogue No. 1207)
Recorded by CHARLES WILSON
Voice d = 88
Drum é: 88
Drum-rhythm similar to No. 4
A a lee
EE a a Ya a eee ee ee |
C:.@ BOOTS! 4.47 1.2.44 .4w4 Eee 2B!
(wet 2 SSS SS a es es ee |
al SE 0 ee oe ee” a BO ver Pe Be |
Analysis —This song is based on the second 5-toned scale and
progresses chiefly by whole tones, although more than half the inter-
vals are minor thirds. No change of time occurs in the song, which
is unusual. The melody suggests little resourcefulness in either
(BULL. 110 —
BUREAU OF AMERICAN ETHNOLOGY
122
rhythm or melodic progression, but the rhythm is interesting and :
carried forward in a steady manner.
Cloud has returned to his home.
ing White
He stands there in the sky and sings this song.
xt follow
In the song ne
”
No. 52. “ White Cloud is Singing in the Sky
(Catalogue No. 1208)
Recorded by CHARLES WILSON
= 88
Voice P| = 88
o
Drum-rhythm s
Drum
imilar to No.4
Analysis——This melody is based on the fourth 5-toned scale and
contains three rhythmic units which bear a close resemblance to one
another.
The first section of the song (A) contains 15 measures,
DENSMORB] YUMAN AND YAQUI MUSIC 123
the second (B) contains 13 measures, the third (C) contains 16
measures, and the final section (D) contains 6 measures. These
divisions are not arbitrary, but intended to assist the observation
of a monotonous melody. This song has a compass of only five tones.
White Cloud has decided to travel again. He intends to go
toward the south, and in this song he tells of the proposed journey.
No. 53. “I Will Go Toward the South”
(Catalogue No. 1209)
Recorded by CHARLES WILSON
Voice ame 126
Drum ge 126
See denne rhythm below
2 4-43 5 bse SET ees
= Be Sb i SSS BS eae SS eee
BS eee,
Drum-rhythm
lertelerre
124 BUREAU OF AMERICAN ETHNOLOGY (RULE. 110 |
Analysis —A form of rhythmic speech is suggested by this melody. |
The phrases are not uniform in length and were ended crisply. The
tones indicated as a rhythmic unit are simply a recurrent phrase,
without influence on the rest of the rhythm. More than four-fifths —
of the progressions are whole tones. Except for the ascent at B, the ©
song contains only the tones E flat, F, and G.
As he passed a certain place in the sky he saw a woodpecker and
said, “ Now I know that creatures such as you live and roam in a
place like this.”
125
(Catalogue No, 1210)
AND YAQUI MUSIC
Song to the Woodpecker
Recorded by CHARLES WILSON
So
5
z
5 2
as 3
bs F:
a a=]
7)
E
ae:
ao
ene
o
= a &é&
| oO & &
S > AA
R
Zi
a
a
126 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 110
Analysis—A peculiarity of this song is the occurrence of the
rhythmic unit in all its periods and the occurrence of the highest
tone in the second period, this being more frequently deferred until
the final period. The tones are those of the fourth 5-toned scale
which is major in tonality, yet the interval of a major third does not
occur in the song.
In the song next following he has gone still farther and come
down to the ocean, where he sees the great waves throwing masses of
mist into the air. He is now on the earth and he sings this song.
YUMAN AND YAQUI MUSIC 127
DENSMORBD]
No. 55. Song Concerning the Ocean
(Catalogue No, 1211)
Recorded by CHARLES WILSON
Voice d = 138
Irregular in tonality
Deano) td -rtiget gets Bee g
(4)
(1)
healers
Ui dinetabattas cdma sae kee) |
d
d
128 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 55 Continued)
Repetitions &
phrases in
trregular
order
2 2t si d2 sed 31 02 eee
Analysis —tIn this song concerning the ocean we look for some
characteristics different from those of the preceding songs, and find
a rapid melody consisting chiefly of quarter notes and half notes.
The rhythmic unit is very simple. The song has a compass of only
five notes and contains three rhythmic units, the second and third
rhythmic units having a resemblance to one another. More than half
of the intervals are whole tones, next in frequency being the minor
third and the fourth. There is a slight swaying in the melody, with
little effect of actual motion. Apparently it is the vastness of the
ocean that impresses White Cloud, though he mentions the masses
of mist.
In the final song he says, “ This is the beginning of the clouds, the
high winds, and the thunder. I alone can command them to appear.”
DENSMORB] YUMAN AND YAQUI MUSIC 129
No. 56. “My Power is in the Sky ”
(Catalogue No. 1212)
Recorded by CHARLES WILSON
Voice 4 = 96
Drum d = 96
Drum-rhythm similar to No. 4
ae ee ee rl
a cas ooo gt rrr
Analysis —The two rhythmic units in this song differ only in that
one has a preparatory tone on an unaccented part of the measure.
The song is minor in tonality, with unusual prominence given to
the whole tone between the seventh and keynote. With the excep-
tion of one ascending fourth the melody progresses entirely by
minor thirds and whole tones. These are strangely uniform in num-
ber, there being 15 of each interval in ascending progression and 16
of each interval in descending progression.
130 BUREAU OF AMBRICAN ETHNOLOGY raune. 1107
YUMA DEER DANCE
One of the principal cycles of Yuman songs is that concerning the
deer (Akwa’k). This was said to be the only cycle with dancing. A
description of the cycle was obtained among the Yuma, with numer-
ous songs, and the dance itself was witnessed among the Yaqui
and songs recorded. (See pp. 154-166.) No attempt was made to
obtain a comparison of the Yuman and Yaqui legends.
The Yuma cycle of Deer dance songs required one night for its
rendition, each part of the night having its own songs. The dance
or cycle was said to be based on a belief that the deer has power over
certain animals which are mentioned in the songs. These, however,
are not all the animals over which the deer has mysterious power.
The journey of the deer, described in the songs, is summarized as
follows: The deer traveled at night, starting from the tall mountain
mentioned on page 139. He traveled in a southwesterly direction and
came to the mountains the other side of the present site of Indio.
Passing through those mountains, he went to the ocean where “ some
of the deer became wild elks.” From the ocean he turned eastward
and when he reached the Colorado River he called it the Red River.
He proceeded eastward until he came to some high mountains
which he named Mokwi’ntaor. These can be seen in the east. He
went farther east until he reached the high mountains west of
Phoenix, and that is the place where the sun begins to shine in the
morning. The songs are concerning various incidents of this jour-
ney. These contain the characteristics of the Yuman song cycle,
including the transformation of the deer and the naming of various
mountains.*t The Deer dance is usually held in summer at the time
of a full moon. The men are painted and usually wear an animal’s
tail or the head of a deer. Sometimes a man wears the whole
skin of a wild cat on his head with the paws hanging on each side
of his face. The animal’s tail is hung at the back of the dancer’s
belt. The dancers stamp their feet, as in the dances of the Karok,
and when a man stamps his right foot he dips his right hand below
his knee and puts his left hand and arm behind hin, reversing this
when he stamps his left foot. It appears this is not the only mo-
tion of the dance, as it is also said that both men and women take
part, standing alternately, holding hands and moving sidewise. If
there were enough dancers, they formed two circles around the basket
drums, one circle moving clockwise and the other in the opposite
direction. (Fig. 7,p.150.) The dancers donot sing. Thesongs are
accompanied by pounding on overturned baskets (p. 24). Three
"The latter characteristic occurred in the legend of the travels of Elder Brother,
recorded among the Papago. (Bull. 93, pp. 25, 26.)
DENSMORB] YUMAN AND YAQUI MUSIC {AL
baskets are generally used and four singers are seated at each. The
leading singer at each basket strikes the basket with two willow
sticks held in his right hand, the others striking it with the palm of
the right hand. A leading singer starts the songs and the others
join him after a few notes.
The following songs were selected from those which were sung in
the several parts of the night. The first songs were said to belong
to the early part of the night and are concerning the water bug
(mai’lkapi’l), while the mention of the mountain where the deer
began his journey occurs somewhat later in the series.
Alfred Golding (pl. 31, a), who recorded these songs, brought his
willow sticks and bundles of arrow weeds for pounding the basket,
this being his custom when going to places where he expects to sing,
They were neatly wrapped in a white cloth.
No. 57. “The Deer Begins His Travels ”
(Catalogue No. 1168)
Recorded by ALFRED GOLDING
f fA
° ei a es ee ee 2 ee
Rw 2S) Po ee oe ees 2)
2 2 ee ia Bee De
Lats Jee s Se ee
FREE TRANSLATION
The deer is traveling down from the source of the Colorado River.
Analysis —The transcription represents the first rendition of this
song. The second rendition began with the second rhythmic unit
and repeated the closing phrase of the song, thus retaining the
3-phrase form of the song. The next rendition began at the same
point, continued for six measures, then repeated these measures and
continued to the end, with two additional repetitions of the final
phrase. The next rendition was like the second. This is an example
132 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
of the irregular manner of repeating many Yuma songs. The open-
ing measures are often omitted in the repetitions, and the phrases
seem to be repeated according to the fancy of the singer. This
melody has a compass of three tones and progresses chiefly by minor
thirds. This interval was enlarged by singing the lower note
slightly below the indicated pitch. The drumbeat was synchronous
with the voice, the strokes being as indicated.
No. 58. “The Water Bug and the Shadows”
(Catalogue No. 1164)
Recorded by ALFRED GOLDING
FREE TRANSLATION
The water bug is drawing the shadows of the evening toward him on the
water.
Analysis—The upward and downward progressions in this
melody are equal in number, but the ascending progressions are the
more prominent and usually occur before an accented tone. The
only tones occurring in the melody are F, A flat, and B flat. The
minor third comprises three-fourths of the intervals and is the only
progression occurring in and after the fourth measure. As in the
song next preceding, this interval was sung slightly larger than the
indicated pitch. In some of the renditions the final tone in the
second and fourth measures from the end of the song were omitted,
the tone A flat being prolonged to the time of both tones in the
transcription. This is an example of the slight changes sometimes
noted in repetitions of songs. The series concerning the water bug
comprises six songs, all of which are minor in tonality.
DENSMORB] YUMAN AND YAQUI MUSIC 133
No. 59. Dance of the Water Bug
(Catalogue No. 1165)
Recorded by ALFRED GOLDING
FREE TRANSLATION
The water bug is dipping the end of his long body in the water and dancing
up and down.
Analysis—The first part of this song comprises three rhythmic
periods, each having a rest midway its length. The first period
contains four complete measures, the second ends with the eighth,
and the third ends with the twelfth measure. The form of the
latter part of the song is the same, the three periods being repeated
but the melodic progressions being slightly different. The phrases
are short and clearly defined. It is interesting to note that this is
the dance of an insect, to which such phrases are appropriate. Pro-
gression is entirely by major and minor thirds and major seconds.
The keynote appears to be G sharp, but instead of the fifth above
that tone we find E sung repeatedly and with unmistakable intona-
134 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
tion. The prominence of the submediant in minor songs occurs in
other songs of this group. Attention is directed to the rests in the
drumbeat which were similarly given in all renditions of the song.
No. 60. The Water Bug on the Mountain
(Catalogue No. 1166)
Recorded by ALFRED GOLDING
FREE TRANSLATION
Continuing this motion, the water bug came to a mountain called Avi’heruta’t.
Standing on top of this mountain, he is gazing and he smells the breeze
from the western ocean.
Analysis —This and the three songs next following are concerning
the water bug and contain many interesting points of resemblance.
These songs are minor in tonality and lack the fourth and seventh
tones of the complete octave. These are the omitted tones in the
fourth 5-toned scale, but their omission in songs of minor tonality is
DENSMORB] YUMAN AND YAQUI MUSIC 135
unusual. All these songs progress chiefly by major thirds, end with
an ascending progression, and have a compass of seven or eight tones.
The pitch of the keynote (G sharp) was remarkably accurate through
the series. It is the final tone in all the songs and the first and last
tone in this and No. 62. The present song is rhythmic in character,
but the rhythmic unit is short and unimportant.
No. 61. The Water Bug Sees a Fish
(Catalogue No. 1167)
Recorded by ALFRED GOLDING
oe ee oy sae
Sass
ada dr d aby dh adbidy da dy didy Sy
FREE TRANSLATION
While the water bug stands there the ocean seems to draw nearer and nearer,
and in the water he sees a fish traveling up and down with the tide. (This
fish was said to be shaped like a sunfish but larger.)
Analysis—The phonograph record of this song shows a remark-
able combination of rhythms in voice and drum, the voice being
measurable by both eighth and quarter note values while the drum is
steadily in quarter-note values. The drumbeat was clear, making
transcription possible. No instance similar to this has been recorded
by the writer. Attention is directed to the complex idea of the song,
136 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
in connection with the complexity of rhythms. The melody has a
compass of eight tones and, like the other five songs concerning the
water bug, is minor in tonality. About half the intervals are minor
thirds and the song contains 22 ascending and 21 descending
intervals.
No. 62. The Water Bug Stands Upon the Fish
(Catalogue No. 1168)
Recorded by ALFRED GOLDING
FREE TRANSLATION
Standing as in a dream, he came to the ocean and stood on the top of the
fish, thinking that he was standing on the ground. Then he found it was
moving and said, “ This is something alive.”
Analysis.—This song is characterized by its succession of quarter
notes with the drumbeat coinciding with each note. In this connec-
tion it is interesting to observe the words which state that the water
bug stood upon the great fish. This song has the same keynote and
tone material as three other songs concerning the water bug. The
repetitions contain a few unimportant differences, affecting the melody
more than the rhythm.
DENSMORB] YUMAN AND YAQUI MUSIC 137
No. 63. The Water Bug Wanders Forever Beside the Sea
(Catalogue No. 1169)
Recorded by ALFRED GOLDING
Lye le)
Pill Em (~HRey
ped
FREE TRANSLATION
The water bug wanders forever beside the sea. After standing on top of the
fish the water bug became black, this being caused by a disease that he took
from the fish. Therefore he wanders forever on the shore of the ocean.
Analysis.—The opening phrase of this song occurs only once on the
phonograph cylinder. Slight differences of melodic progression
occur in the repetitions but the rhythm remains the same. This song
contains an unusual number of syncopations which were given with
distinctness and in exact time. More than half the progressions are
major thirds. A connective phrase was sung between the renditions
of the song. Attention is directed to the note preceding the rest,
which in every instance was clearly cut, ending in exact time.
[BULL. 110
(Catalogue No. 1170)
J AR
:
Recorded by ALFRED GOLDING
BUREAU OF AMERICAN ETHNOLOGY
No. 64. The Deer is Taking Away the Daylight
408
(4)
Fen 2 aaa Bis es
J
138
Papa
:
J
ddd
He i
t
d
JJ
a a
iid
diana a aaa
:
Ue TS eee
aiae
pane” hwy
J
d
J
(2)
Ate oot Ne
hie ee ae
d
slisialiahseeal doses aliaavba
Q
ig eh d
Jd
d
ginetogre Ng
(2)
ddd dda
J}
Hadd aat aide
piNsMoR®] YUMAN AND YAQUI MUSIC 139
FREE TRANSLATION
The deer is taking away the daylight. After taking away the daylight he
named it darkness.
Analysis.—The interest in this melody is well sustained and the
general effect is particularly pleasing. Attention is directed to the
break in the rhythm produced by the 5-4 measures. ‘Two rhythmic
units occur which have no resemblance to each other. The minor
third and major second comprise all except eight of the progressions.
The drum was synchronous with the voice, frequent rests occurring
as indicated. Although the song has a compass of only seven tones,
about two-thirds of the intervals are in descending progression.
No. 65. All is Darkness
(Catalogue No. 1171)
Recorded by ALFRED GOLDING
Voice o = 116
Drum @ = 116 (4) (2)
FREE TRANSLATION
The deer is alone in the darkness, grazing on a lonely plain, near the high
mountain (A’vikwa’ame).
Analysis —The title of this song suggests no action or special inter-
est, and we note that the melody contains no change of measure
lengths, moving smoothly along a simple path. ‘The song is major
in tonality, containing the tones of the fourth 5-toned scale. Pro-
gression is chiefly by minor thirds and major seconds, which are
about equal in ascending and descending progression. The second
rhythmic unit is an extension of the first, which is an unusual the-
matic treatment.
BUREAU OF AMERICAN ETHNOLOGY
140
[BULL, 110 |
No. 66. The Spider Makes a Road
(Catalogue No. 1172)
Recorded by ALFRED GOLDING
= ae
d
dd
:
Jd
J
d
:
plate Gee
2” Jame,
Lee
DENSMORE] YUMAN AND YAQUI MUSIC 141
FREE TRANSLATION
After the deer had been in the darkness a long time he asked the spider to
have a road made for him in the darkness. The spider made the road and the
deer is now traveling on it.
Analysis.—In this song we find a short, crisp unit of rhythm, with
interesting interruptions at the ninth, twentieth, and_ thirtieth
measures. The tone material consists of G, with its second, third,
and sixth. Semitone progressions comprise about one-fourth of the
intervals, the song containing no interval larger than a major third.
Attention is directed to the ascending progressions followed by rests,
and to the interesting progressions in the third measure from the
close of the song.
The road made by the spider was a long thread of spider web.
The deer traveled on this until he got out of the darkness. He
rolled and shook himself after he reached the daylight. (The song
concerning this episode is not transcribed.)
Then he asked various birds and animals to sing or do something
characteristic for him, and after each had performed he said, “ That
is all right, that is all you can do.” He requested the blackbird to
sing a song for him.
No. 67. Song of the Blackbird
(Catalogue No. 1178)
Recorded by ALFRED GOLDING
FREE TRANSLATION
The blackbird is singing and all the blackbirds are dancing on the ground.
142 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 ©
Analysis —This is a fluent melody, containing 73 progressions in
36 measures. The tone material resembles that of No. 44, the song ©
being major in tonality with the seventh lowered in every occur-
rence. The rhythm of the first measure appears frequently through-
out the song. The interval of a fourth is prominent, but the minor
third is the most frequent interval, comprising more than half the
progressions. The descending fourth followed by an ascending
third is interesting and suggests the swiftly sweeping motion of a
bird. (Cf. Nos. 72 and 73, which are also concerning blackbirds.)
No. 68. Song of the Buzzards
(Catalogue No. 1174)
Recorded by ALtrreD GOLDING
FREE TRANSLATION
The buzzards are singing and dancing in the sky.
Analysis —This song is analyzed with D flat as the keynote, but
the third and fourth above that tone do not appear. The seventh
is flatted in one occurrence. About one-fourth of the intervals are
fourths, but in this song concerning the buzzards we do not find the
descending fourth followed by an ascending third which character-
ized the song of the blackbird. The motion of the melody is heavier
and there are frequent repetitions of a single tone. This song con-
tains about one-third as many intervals as the song next preceding.
YUMAN AND YAQUI MUSIC 143
DENSMORB]
No. 69. Song Concerning the Raven
l Een bry
Recorded by ALFRED GOLDING (Catalogue No. 1175)
108
Jy
bina a
# iridied
J2
d
Le Bak ie
144 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
FREE TRANSLATION
While the buzzards were singing and dancing in the sky the raven tried to
dance, too, but he failed and dropped te the ground.
Analysis—The rhythmic unit of this song resembles the unit of
the song of the buzzards but is shorter. The song opens with an
ascent of a seventh in two consecutive intervals, which is an unusual
beginning. After this opening the melody tones are chiefly a repe-
tition of E, F sharp, G sharp in various sequences. Almost two-
thirds of the intervals are whole tones. The song is minor in tonality
and is based on the second 5-toned scale.
No. 70. Song Concerning the Deer
(Catalogue No. 1176)
Recorded by ALFRED GOLDING
Voice @ = 116
Drum¢:6 |.
Drum-rhythm similar to No.12
FREE TRANSLATION
The deer turned and asked other animals to sing for him.
Analysis—This is a particularly free melody, and, as in several
others recorded by this singer, the pitch of the lowest tone is such
as to make the melody difficult to classify. Thus if the lowest tone
in the closing measures were F instead of E flat the melodic struc-
ture would be much simpler. The singer seems to have attached
slight importance to these tones, or perhaps they were below the
natural compass of his voice, as the intonation is not so clear as on
DENSMORD] YUMAN AND YAQUI MUSIC 145
the other tones. The seventh is flatted in all its occurrences. The
fourth is a prominent interval, but the melody progresses chiefly by
minor thirds. The drum is in quarter notes with rests corresponding
to rests in the voice.
No. 71. The Howling Coyote
(Catalogue No. 1177)
Recorded by ALFRED GOLDING
Voice o = 126
Drum @ = 126
Drum-rhythm similar to No.12
FREE TRANSLATION
The howling coyote took up common dirt and scattered it toward the sky. He
caused the dirt to become stars and the rainbow.
Analysis—This song concerning the coyote has a compass of only
five tones and contains only the tones of the major triad. Sixteen
progressions occur, 12 of which are major thirds. Rests are of fre-
quent occurrence, but the rhythmic phrases are not clearly defined.
We note that coyote did not sing, but ridiculed the performance of
the other animals.
146 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 72. The Blackbirds are Dancing
(Catalogue No. 1178)
Recorded by ALFRED GOLDING
é = 80
Irregular in tonalit
ydy dad vdad 7) edishicah yaiaidis
FREE TRANSLATION
The little blackbirds are singing this song as they dance around the four
corners of the sky.
Analysis —In this dance of the blackbirds we have a type of
melody wholly different from that of the songs next preceding. The
melody progresses more widely and freely, and the rhythm is more
complicated. The tones contained in the melody are those of the
key of D major with G omitted except that C is sung C natural in
every occurrence. As C natural occurs so frequently, the song is
classified as irregular in tonality. About half the intervals are
minor thirds. (Cf. No. 67.)
DENSMORB] YUMAN AND YAQUI MUSIC 147
No. 73. The Dance of the Blackbirds is Completed
(Catalogue No. 1179)
Recorded by ALFRED GOLDING
Voice @ = 116
Drum # = 116
Drum-rhythm similar to No. 12
Irregular in tonality
song next preceding and is also classified as irregular in tonality.
The melodic structure is based on the three descending minor thirds
D-B, C-A, and A-F sharp, ending with a repetition of A. The
melody then ascends to E and returns to the former sequence of
minor thirds. This “interval structure ” usually characterizes songs
in which the tones are not referable to a keynote. The rhythm of
this song is simple and the rhythmic unit comprises only one measure.
No. 74. The Redbird Speaks (a)
(Catalogue No. 1180)
Recorded by ALFRED GOLDING
Voice d = 69
Drum @ =: 69
Drum- rhythm similar to No. 27
148 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
FREE TRANSLATION
The red bird was requested to sing, but instead he spoke of his own way of
living and said that he lived in the open, among the clouds and the winds. He
said that he dreamed of a certain sort of dance and that it was his dance.
Analysis —In this song we have the expression of a bird that has
not been previously mentioned and a melodic structure that is un-
usual, The song has a compass of seven tones, is based on the second
5-toned scale, and lies entirely above the keynote. From the highest
to the lowest tone the melody descends in the first three measures by
means of two fourths (one with a passing tone) and a minor third.
After a repetition of this interval, the melody ascends to the highest
tone and descends in the same manner. A prominence of the fourth
has frequently been noted in songs concerning birds. ‘The count
divisions in the song are short and the rhythmic unit comprises half
the melody.
No. 75. The Redbird Speaks (b)
(Catalogue No. 1181)
Recorded by ALFRED GOLDING
Voice d = 100
Drum @ - 100
Drum-rhythm similar to No. 12
2 Or ee ee
J PY | a 2
Sune see
Care |
FREE TRANSLATION
Such is my life in this wonderful air, and I long to have little children, a boy
and a girl, to enjoy this free air.
DENSMORB] YUMAN AND YAQUI MUSIC 149
Analysis —This melody is a contrast to the song next preceding,
although the subject is the same. A peculiarity common to both is
the descending minor third followed by the same interval in ascend-
ing progression. There was some uncertainty in the pitch of the low
tones transcribed as D sharp and EK. These tones were short and
always sung distinctly. The tonality is minor and the progressions
are very unusual. The most frequent interval is a semitone, compris-
ing one-third of the progressions, and the next in frequency is the
major third. The interval of a fourth occurs chiefly between the
phrases.
No. 76. The Humming Bird Speaks
(Catalogue No. 1182)
Recorded by ALFRED GOLDING
FREE TRANSLATION
When the humming bird met the redbird she said that she was nothing but a
simple little humming bird.
She said that she tried to enjoy things the same as the redbird, and that
she also had been wishing to have some little children, so they could enjoy the
free air and the liberty of which the redbird had spoken.
Analysis.—In this melody we find the simplicity mentioned in the
words but not the rapidity of the humming bird’s motion. The song
contains both long and short phrases and has no rhythmic unit. The
fourth is raised a semitone in every occurrence but is not an impor-
tant tone. Progression is chiefly by whole tones. (Cf. No. 14.)
150 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 77. The Owl Hooted
(Catalogue No. 1183)
Recorded by ALFRED GOLDING
Voice d = 108
Drum Mh 108
Drum-rhythm similar to No.4
FREE TRANSLATION
The owl was requested to do as much as he knew how. He only hooted and
told of the morning star, and hooted again and told of the dawn.
Analysis—The song of the owl is brief and is characterized by
syncopations. It contains no rhythmic unit, and the melody tones
are the major triad and sixth. About three-fourths of the intervals
are major thirds, occurring about equally in ascending and descend-
ing progression.
= -
| -_
—---9
fod
Figurb 7.—Diagram of Deer dance
DENSMORD] YUMAN AND YAQUI MUSIC 151
No. 78. The Redbird and His Shadow
(Catalogue No. 1184)
Recorded by ALFRED GOLDING
Voice dh 96
Drum d = 96
Drum- rhythm similar to No. 12
Fae) = ee a..." a
SE he Se ee 0 ee ee
Ve 0 Be ee
FREE TRANSLATION
The redbird takes his shadow with him and is standing at the farther end,
well prepared to watch the dancing.
Analysis—A descending trend within a compass of two measures
is an interesting characteristic of this song, together with a large pro-
portion of descending major thirds. The rhythmic unit is short
and unimportant. With the exception of two half notes the melody
contains only quarter and eighth notes. Although the song is analyzed
with D flat as its keynote, the framework of the melody consists of
the minor triad and minor seventh in B flat. This is a framework
occasionally found in Indian songs and in other primitive music.
(Cf. Bull. 45, p. 180, footnote; also Bull, 53, p. 258.)
In the song next following in the series (not transcribed) the red-
bird tells of his dreams and says, “ This will be my kind of dancing
and singing, and it shall so be danced.”
162 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 79. Song of the Nighthawk (a)
(Catalogue No. 1185)
Recorded by ALFRED GOLDING
Voice d = 96
Drum d = 96
FREE TRANSLATION
The redbird requested the nighthawk to sing, and here he is singing and
telling of the morning. He did not dance.
Analysis.—This is the first of a group of four songs of the night-
hawk, all of which are minor in tonality. This is a darting melody,
with alternate descent and ascent of intervals, and at the close, a
flutter of whole-tone progressions. It is minor in tonality and lacks
the fourth and seventh tones of the complete octave. Two rhythmic
units occur and are entirely different in character. Almost half the
intervals are whole tones and 20 per cent of the intervals are fourths.
No. 80. Song of the Nighthawk (b)
(Catalogue No. 1186)
Recorded by ALFRED GOLDING
Voice 4 = 92
Drum aoe 92
Drum-rhythm similar to No. 12
DENSMORB] YUMAN AND YAQUI MUSIC 153
FREE TRANSLATION
The nighthawk is telling of his dreams and of the power that is given him
from his manner of life.
Analysis——In this song of the nighthawk we have one of the
most pleasing melodies in the entire series. It is simple and grace-
ful, and each phrase has a completeness which is unusual. All the
phrases end with a descending progression except the last, which
ends with an ascending whole tone. The song is minor in tonality
and is based on the second 5-toned scale.
No. 81. Song of the Nighthawk (c)
(Catalogue No. 1187)
Recorded by ALFRED GOLDING
Voice d = 92
Drum @ =: 92
Drum-rhythm similar to No. 12
FREE TRANSLATION
The daylight is coming and I can distinguish objects around me.
Analysis —The rhythmic unit of this song is a quick, darting
phrase. Attention is directed to the fifth and sixth measures which
resemble the rhythmic unit but are more steady and emphatic. The
progressions are divided with unusual evenness between major and
minor thirds and major and minor seconds, the only interval other
than these being an ascending fifth. It is interesting to note the
persistence with which the sixth is raised a semitone in the latter
portion of the song.
154 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 82. Song of the Nighthawk (d)
(Catalogue No. 1188)
Recorded by ALFRED GOLDING
Voice a = 92
Drum @ = 92
Drum-rhythm similar to No 12
FREE TRANSLATION
Now the sun is up and the nighthawk is enjoying the light and going from
one place to another.
Analysis Ascending and descending intervals are about equal
in this interesting melody. The phrases vary in length and a ma-
jority end with an ascending progression, giving an unusual effect.
The song contains no rhythmic unit and moves freely in its compass
of seven tones. It begins and ends on the keynote, a portion of
the melody lying above and a portion below the keynote.
YAQUI DEER DANCE
The Yaqui village of Guadalupe, near Phoenix, Ariz. (see p. 16),
was visited almost daily during the week that preceded Easter, 1922,
and the native celebration of holy week was witnessed. The form of
the celebration differed from that seen by the writer in the Yaqui
village near Tucson the previous year. At that time the accompani-
ment consisted of drums and reed instruments resembling “ shep-
herd’s pipes.” The musical instruments used at Guadalupe were
more varied and included violins. In both villages the performance
was a strange mixture of Roman Catholicism, paganism, and indi-
vidual originality. The music in both was extremely rhythmic, and
especially at Tucson, where it was continued day and night, it showed
a quality which might develop into a frenzy or fanatic abandon
among the people.
.)
DENSMORE] YUMAN AND YAQUI MUSIC 155
On the day before Easter at Guadalupe a performance was enacted
which may briefly be described as a religious procession or pageant,
in which the Deer dance was an important feature. The procession
started about 200 feet from the entrance of an outdoor chapel
(ramada) in which an altar was placed. The Deer dancers were
stationed about one-third the distance from the entrance, in the path
of the procession, and near them was a group of men with violins.
The performances of these two groups of men were interpolated
with the songs of the religious procession. The Deer dance was
danced intermittently from noon until midnight. It was said that in
old times it was danced at night only, and that in the morning two
or three men went out to hunt deer, but the dance does not appear to
have been held in order to insure success in this hunt. The native
name is Dacio, meaning deer, though it is sometimes called the Ante-
lope dance. The dance usually began about 8 or 9 o’clock, each por-
tion of the night having its proper songs and those preceding No. 89
were sung before midnight. The entire number of dancers was
usually from four to six, with four singers playing on the instruments
to be described. In the dance witnessed by the writer there were four
dancers and four singers.
The musical instruments played by the singers comprised four
halves of very large gourds, disposed as follows: One was inverted
on the water in a tub and struck with a small stick, another was
inverted on the ground and similarly struck, and the other two were
used as resonators for small sets of rasping sticks, one stick being
notched and resting on the gourd, while the other was moved per-
pendicularly across the notches. The beat of the sticks on the
gourds was steady and there was an even rhythm in the friction of
the rasping sticks. One of the half gourds used at this dance was
obtained, together with a set of the rasping sticks. (Pl. 28.) Two
dancers carried rattles made of a flat piece of wood about 6 inches
long, within which were set two pairs of tin disks. (PI. 29, a.)
The costumes of the four dancers were scanty, nothing being worn
above the waist. The leader, who danced alone much of the time,
wore a pair of small deer horns fastened to the top of his head. The
other three dancers had no headgear except small, rather heavy
wooden masks which were tied with cords in such a manner that the
dancer could push the mask to the side of his head when not danc-
ing. The masks were human faces painted grotesquely and had
stiff hair set in slits of the wood to represent eyebrows. A special
rattle was worn by the leading dancer. This consisted of cocoons
sewn together side by side, forming a strip 6 or 8 feet long which
was wound around the dancer’s leg below the knee. Each cocoon
contained a few small pebbles which gave forth a soft, jingling
156 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
y
sound with his motion. The rattle worn on this occasion was said
to be very old and above any valuation in money. A similar orna-
ment, collected in 1870 by Dr. Edward L. Palmer, is shown in Plate
29, 6, and is recorded at the United States National Museum as
“used in the Poscola dance.” The cocoons were identified as
Rothschildia jorulla.
A portion of the Deer dance songs was recorded by Juan Ariwares
(pl. 80, @), who led the dance witnessed in 1922. The recording was
done on the day after Easter. (See p. 22.) Ariwares said that he
knew the entire series, which would require a whole night for its
performance. It was with some difficulty that he selected the songs
here presented, selecting some from those used during each part of
the night.
It was said that in the following song the people call upon the
deer while dancing.
No. 83. Dancing Song
(Catalogue No. 1273)
Recorded by JuAN ARIWARES
Analysis —All the songs of the Deer dance were recorded without
accompaniment, the usual manner of accompaniment being noted
in the description of the songs and dance. This song, which is
typical of a portion of the series, contains many short notes and a
descending trend in brief sections of the melody, followed by a
return to a higher note. The intonation was wavering, which may
be attributed to several causes. The intervals are small. The singer
was an old man, and it was difficult for him to sing alone, without
accompaniment. The rapid tones were given with distinctness, but
the words could not be transcribed. The language of all these songs
is obsolete, but the meaning is known to singers at the Deer dance,
who are the only persons having the right to sing the songs.
The song next recorded was not transcribed, as it so closely
resembled the dancing song. The words were said to mean, “ The
wind is moving the yellow flowers,” referring to the flowers on cer-
tain bushes in Mexico, the flowers being called ai’aiya.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 30
a. JUAN ARIWARES (YAQUI)
b. MIKE BARLEY (CCCOPA)
BUREAU OF AMERICAN ETHNOLOGY BULEEERING11I0 PEATE 31
a. ALFRED GOLDING (YUMA)
b. MRS. CHARLES WILSON (YUMA)
DENSMORB] YUMAN AND YAQUI MUSIC 157
No. 84. The Quail in the Bush
(Catalogue No. 1274)
Recorded by Juan ARIWARES
FREE TRANSLATION
The quail in the bush is making his sound (whirring).
Analysis —The intonation and time values in this song were excel.
lent. A majority of the phrases consist of two or three measures,
but the succession of seven measures at the close of the first portion
of the song was sung without a breathing space. More than two-
thirds of the progressions are whole tones. As in several other
Yaqui songs of the Deer dance, there was a pause of about two and
a half counts before the repeated portion and between the renditions
of the song. A longer rest, occurring after the repeated portion, is
indicated as “pause ad lib.” Other Yaqui songs with the same
range are Nos. 88, 89, 91, 93, and 95.
[BULL, 110
(Catalogue No. 1275)
BUREAU OF AMERICAN ETHNOLOGY
No. 85. The Little Fly
Recorded by JUAN ARIWARES
= 100
d
158
FREE TRANSLATION
Brother Little Fly flies around and looks at the sun.
The
The manner of singing this song was especially clear-
A downward trend is
cut, each tone being given with distinctness.
It is interesting to note that this song is concerning a
evident throughout the melody.
ysis. —
little fly and that 17 of the 20 progressions are whole tones.
Anal
song has a compass of five tones and contains all the tones within
that compass.
Voices of the People
86
No.
(Catalogue No. 1276)
Recorded by JUAN ARIWARES
FREE TRANSLATION
The people are talking and calling to each other.
DENSMORB] YUMAN AND YAQUI MUSIC 159
Analysis Each phrase in this song has a descending trend. The
song is harmonic in structure, which is somewhat unusual in the Deer
dance songs. More than half the intervals are whole tones, the
interval next in frequency being a minor third, although the song
is major in tonality.
No. 87. The Deer Are At Play
(Catalogue No. 1277)
Recorded by JUAN ARIWARES
FREE TRANSLATION
Away in the brush they (the deer) are playing.
Analysis —The character of this melody is playful in accordance
with the words. The first 13 measures were sung four times, these
renditions being separated by a break in the time, which varied
from approximately two to four counts. The ascending major sixth
in the seventh measure is interesting, as well as the triple measure
that follows it. The song has a compass of an octave and is based
on the fourth 5-toned scale. Almost half the intervals are in
descending progression.
67183—32——_12
160 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 88. The Deer and the Flower
(Catalogue No. 1278)
Recorded by JUAN ARIWARES
2 Ore aE a a
LD a 2S eS aed
(ae 2) he ae ee
tia! re
FREE TRANSLATION
The deer looks at a flower.
Analysis —The first performance of this song comprised three
renditions of the repeated portion with a break in the time between
each. The latter part of the song followed after a brief pause. The
melody contains little interest, and it is noted that the idea ex-
pressed in the words is simple. The song has.a range of five tones
and contains the major triad and second. More than half the inter-
vals are whole tones and occur only in descending progression.
YUMAN AND YAQUI MUSIC 161
DENSMORB]
The following songs were sung after midnight:
No. 89. The Summer Rains
(Catalogue No. 1279)
Recorded by JUAN ARIWARES
NSLATION
FREE TRA
In summer the rains come and the grass comes up.
That is the time that the deer has new horns.
Analysis —Although rhythmic in character this song contains no
The first portion was sung three times with a break
in the time between the repetitions.
rhythmic unit.
The intonation on the repeti-
the pitch being lower on the
)
tions of a tone was not steadily held
last tones of the series.
162 BURBAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 90. The Rising Sun
(Catalogue No. 1280)
Recorded by JUAN ARIWARES
_ Pause
ad lib.
FREE TRANSLATION
The sun is coming up.
It is the time to go out and see the clouds.
Analysis —Two intervals give character to this rather monotonous
melody. These are the ascending fourth in the fourth measure fol-
lowed by a descending interval and the descending minor third in
the fourth from the last measure followed by an ascending interval.
The melody consists of short phrases each with a downward trend
but with no rhythmic unit. The melody tones are those of the
fourth 5-toned scale.
The word “ singing ” in the next song refers to the putting forth
of magic power.
No. 91. The Bush is Singing
(Catalogue No. 1281)
Recorded by JUAN ARIWARES
FREE TRANSLATION
The bush is sitting under the tree and singing.
DENSMORB] YUMAN AND YAQUI MUSIC 163
Analysis —This song is slow in tempo and almost recitative in
style. Perhaps the repeated sixteenth notes were suggested by the
motion of the leaves of the little bush. The song is in four periods,
a unit of rhythm occurring in the first and third period. The tone
material is the major triad and second, and 14 of the 19 progres-
sions are whole tones.
No. 92. The Hunt (a)
(Catalogue No. 1282)
Recorded by JuAN ARIWARES
FREE TRANSLATION
The man riding a horse is coming after the deer.
Analysis.—The time was not strictly maintained in this song and
a long recitative phrase in the final rendition is not transcribed.
This took the place of the seven measures which begin the last half
of the song, and was followed by the quarter rest and final measures
as transcribed. The style of the entire melody suggests a narrative
which is sung instead of spoken, and yet the accents were clearly
given. The phrases are short and there is no rhythmic unit. The
song contains 41 progressions, 28 of which are whole tones and 12
are semitones.
164 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 93. The Hunt (b)
(Catalogue No. 1283)
Recorded by JuAN ARIWARES
FREE TRANSLATION
The man is going to hunt the deer.
They said the sun was coming out and this day they would have the deer.
Analysis —The small compass of this song is the same as in several
other songs of the series. (See No. 84.) It will be noted that the
portion of this song between the two pauses is almost identical with
the portion preceding the first pause. The differences, however, were
steadily maintained in the several renditions. The 5-8 measure and
the recitative style in the latter portion are of unusual interest, the
repeated sixteenth notes at the end of the song growing softer until
they trail away into silence. More than half the progressions are
whole tones and the ascending and descending intervals are about
equal in number.
No. 94. The Hunt (c)
(Catalogue No. 1284)
Recorded by JUAN ARIWARES
DENSMORE] YUMAN AND YAQUI MUSIC i 165
FRED TRANSLATION
A man said he would surely get the deer and hang it on a tree.
Analysis—The compass of this song is an octave and the two
opening phrases each contain a descent from the highest to the lowest
tone. The repeated portion was sung three times without a break in
the time and the tone transcribed as E natural was clearly given in
all the renditions. ‘The tempo was slightly retarded in the two clos-
ing measures. Progression is chiefly by small intervals, 16 of the 38
intervals being whole tones and 7 being semitones.
The next is the final song of the dance.
No. 95. The Deer is Dancing
(Catalogue No. 1285)
Recorded by JuAN ARIWARES
FREE TRANSLATION
The deer is coming out (meaning that the deer is dancing in the middle of
the circle).
Analysis —An effect of vigor and briskness is given to this melody
by the phrases with sixteenth notes occurring in the second and
sixth measures. The song begins and ends on the same tone and
has the same compass and tone material as several others of the
present series. (See No. 84.) The portion of the song preceding
the double bar was sung four times with a slight break in the time
between the renditions. After a brief pause the connective phrase
was sung and followed by the repeated portion without a break in
the time. This appears to constitute a complete performance.
MAYO DEER DANCE
The Deer dance is held by the Mayo as well as by the Yaqui and
Yuma. A Mayo song was sung by the singer of the Yaqui Deer
dance songs, who said he considered it particularly good. It was
sung in the latter part of the night. The meaning of the words of
the song is not known.
166 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 96. Song of the Deer Dance
(Catalogue No. 1292)
Recorded by JUAN ARIWARES
Analysis.—The tone A occurs frequently in this song, being sung
A natural in the first portion and A flat in the second portion of
the melody. This change causes the song to be classified as both
major and minor in tonality. The song has a compass of five tones
and uses all the tones within that compass. There is no change of
measure lengths and the melody progresses chiefly by whole tones.
YUMA CA’KORAMU’S DANCE
Five songs of this old dance were recorded by Katcora, but only
two were transcribed. They are part of a cycle which required one
night for its rendition and was said to be “ about the stars in the
sky.” The words were in a language that is obsolete, but their mean-
ing was known to the singer, who said the first song of the entire
series was about the evening. Another song mentioned “ the
Pleiades and three stars in a row,” and another was concerning
Coyote, who laughed at the dancers. These songs were not tran-
scribed. The subjects of the other songs are indicated by their
titles. The song concerning the meadow lark and the diver “ would
be sung along toward morning.” ‘The people could not under-
stand the words of these songs, and it was customary for the singer
after completing a song to announce its subject. Thus after this
song he would say to the people, “I have sung about the meadow
lark and the diver.” The songs in the early part of the evening
were always sung softly, the singing growing gradually louder as
the series progressed.
From the songs and the description of the dance, as given by
Katcora, this appears to have been a dance of the “ Pleiades”
DENSMORE] YUMAN AND YAQUI MUSIC 167
type.*? The dancers were described as wearing paint and feathers.
They stood in their places and the dance motion consisted of “ bend-
ing the knees and stooping low.” The singer faced the east,
according to the custom in Yuma dances.
No. 97. Song Concerning the Meadow Lark and the Diver
(Catalogue No. 1236)
Recorded by KATCORA
Voice d =: 60
Ome, (2) (2)
_p_ eee ww wae
A > 1 Os a a a a ee *
= Ca a SO ZS
ie Se kaa ce ples aula oo BIR ta
|
grollpay toy eeomnb pony aly bog gids |
Dances of the “‘ Pleiades”? type stand apart from all others as being primarily dance
singings. They are connected with two long myths. ‘The Pleiades singer stands under
a shade with his back to the sun. Behind him young men stand abreast, and behind
these their elders. They wear feather-hung rabbit-skin ropes over their shoulders. Facing
the singer are a row of girls and one of older women. All sing with him for a time.
Then he ceases, but they continue to dance. They bend and raise the body, make a long
stride forward with the right knee elevated, bend again, and step back. As the men step
backward, the women step forward, and vice versa.’’ (Kroeber, Handbook of the Indians
of California, Bull. 78, Bur. Amer, Ethn., pp. 764-765.)
168 BUREAU OF AMERICAN ETHNOLOGY [BULD. 110
Analysis —This is a particularly fluent melody and contains 98
progressions in 23 measures. The song is minor in tonality, but only
10 progressions are minor thirds, the whole tone comprising about 60
per cent and the major third about 23 per cent of the intervals. The
tempo is slow and the tones are those of the second 5-toned scale.
No. 98. Song Concerning the Quail
(Catalogue No. 1237)
Recorded by KATCORA
Voice @ = 168
Ratile @ = 168
Rattle-rhythm similar to No. 27
Re
Analysis—This song is characterized by a syncopation which oc-
curs frequently, the rattle being approximately in eighth notes. The
song contains the tones of the second 5-toned scale, beginning and
ending on the third above the keynote. Progression is chiefly by
whole tones, though the fourth is a prominent interval. The repeated
portion, as in many Yuma songs, was sung four times.
COCOPA BIRD DANCE
The songs of this and the two dances next following afford an
interesting contrast in their general character. The Cocopa songs
of the Bird dance were learned by the singer when he was a “ helper,”
but those of the Mohave Bird dance are common property, being
known to all the tribe. The songs of the second Cocopa dance
(Tcumanpa’xwa) were regarded with respect by the singer, who
said he inherited them from his grandfather, who probably received
DENSMORB] YUMAN AND YAQUI MUSIC 169
them in a dream. The Bird dance could be held before a cremation
or a Memorial ceremony.
Among the Cocopa, whose songs are here presented, this dance is
commonly known by the Yuma term “ Elca’,” meaning little bird.
The Cocopa term, with the same meaning, is Esa’elmu’s. The Yuma
also call the songs Atsiyé’r (bird) Scava’rr (song). No explanation
of the term was obtained. It was said “ because a song mentions birds
it is not a regular bird song, as insects are also mentioned in the bird
songs. Herzog states that these songs are concerning “a kind of jay
bird which lives on pifion nuts and comes to the Diegueho country
from the Mexican side.” *
These songs were recorded by Numa’wasoa’t, a middle-aged mem-
ber of the Cocopa Tribe. Frank Tehanna traveled many miles on
horseback to explain the writer’s work to Numawasoat, who was
considered a particularly good singer. He speaks no English and at
first he hesitated to record the songs, but his objections were over-
come by Tehanna and he came to the Cocopa village to record the
songs. Numa’wasoa’t learned the songs in the usual manner, by
being one of the “ helpers.” He has acted as leader of the singers at
the dance, being seated and usually having two helpers at each side.
He and each of his helpers had a gourd rattle. The dancers were
young women, from one to five in number. They stood in a row
facing the singers, and when dancing they moved backward and
forward a distance of about 15 feet. The Bird dance lasted all
night, and the songs were in regular sequence, certain songs being
sung before and after midnight. The singer selected a few from each
part of the series and all the records were studied, though only a
portion were transcribed. Several songs were almost monotones and
others consisted chiefly of ascending and descending minor thirds.
The songs that were sung in the early portion of the night were
always begun softly and gradually increased in volume of tone. The
words are in the “old language,” which is not understood by anyone
at the present time. The songs were recorded with the rattle shown
in Plate 23.
% Herzog, Yuman Musical Style, Jour. Amer. Folk-Lore, vol. 41, footnote p. 187.
o} ~~
2s
ieee
aes .
a o
SE Z
4 g
2
fox}
YY
ss]
Be
2 &
es
yA e
= :
EB = &
BS “A
oe 4
a3 = <
ey ee a
2)
i-)
a 2 2
| &D >
= & sd
Pau
a 6 5
: S
a 2: 2
oe
5 &
rf)
96
96
See rattle-rhythm below
Voice i
Rattle x
170
Rattle-rhythm
TD DIAL TD D 5]
ding.
The melody is particularly
are more in number than the descen
cheerful, with an interesting rhythmic unit, the third measure of
The only tones occurring in this song are D, F, and G,
The intervals which impress the ear most strongly are the ascending
as
ES)
H
=|
=)
Hy
ot)
=|
oe
=
wm
3H 8
> Nn
ay o
2g oS
=| o
ee Ss
on ~
=| —
pis | a
| ga.
oeee ce
HB ae
22 c=)
fH
SBA 8
Sicesee
q =
3S =
which appears in the portion of the song not containing the entire
The rhythm of the rattle could not be heard in all the ren-
unit.
ditions, and the rattle was silent during the pause and the measures
immediately following the pause.
DENSMORB] YUMAN AND YAQUI MUSIC 171
No. 100. Song in the Early Evening (a)
(Catalogue No. 1244)
Recorded by NuMAwASOAT
Voice a) = 92
Rattle d = 92
See rattle -rhythm below
° ~__ EE] SS. (ee Se eee
ZR oe AS Ce Le ee eR] OS
Rattle when discernible
EPP EP Peres
Analysis—An unusual number of semitones occurs in this song
and is its chief characteristic. Almost half the intervals are semi-
tones, 11 occurring in ascending and 12 in descending progression.
A whole tone occurs only once. The song is minor in tonality and
contains all the tones of the octave except the sixth and seventh. The
rhythm is not so simple as in the preceding song. It is interesting to
note the rhythm in the portion following the pause. In these meas-
ures a triplet is accented and a sixteenth note followed by an eighth
appears on the unaccented count, reversing the order in the earlier
portion of the song. The coincidence of rattle and voice was exact in
counts having the same division.
172 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 101. Song in the Early Evening (b)
(Catalogue No. 1245)
Recorded by NuMAWASOAT
Voice d = 96
Rattle ¢ = 96
Rattle-rhythm similar to No. $9
Analysis.—This song begins and ends on the same tone, a melodic
formation not so common in Cocopa as in the analyzed Yuma
songs. Like the song next preceding, this begins with an ascending
fifth, followed by a descending whole tone, but the other characteris-
tics of the song are different. This song is based on the fourth
5-toned scale and has a compass of seven tones. The principal inter-
val is the minor third which comprises about half the progressions.
The phrase indicated as a rhythmic unit is five measures in length
and its repetitions comprise almost the entire song. The rattle was
clearly discernible throughout the performance.
YUMAN AND YAQUI MUSIC 173
DENSMORB]
No. 102. Song in the Early Evening (c)
(Catalogue No. 1246)
Recorded by NUMAWASOAT
96
Rattle Hl
Rattle-rhythm similar to No. 99
oe
The minor
third constitutes about half the progressions in the song, which is
major in tonality and based on the fourth 5-toned scale.
of the suc-
>)
g to note the “ answering
short and simple, beginning alter-
The rhythmic unit is
nately with a descending and an ascending progression.
cers.
Analysis.—It is interestin
cessive phrases in this song, suggesting an advance and receding by
the dan
174 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 103. Song at About Midnight (a)
(Catalogue No. 1247)
Recorded by NuMAWASOAT
2 fay 1,5. fy yo Fy Ay Fy is
7 iy Ry Bhs wali
Analysis.—Three interesting peculiarities appear in this song, all
being given with distinctness. The first is the syncopation, which
occurs in the opening measure and several times during the song; the
second is the accidental, occurring only in a short, detached phrase;
and the third is the frequency of short rests, giving crispness to the
melody. The most frequent intervals are fourths and minor thirds,
the former comprising 20 and the latter 23 of the 70 progressions.
The ascending intervals are more in number than the descending
intervals. This has been noted with some frequency in Yuma and
Cocopa songs, but occurs seldom in the songs previously analyzed.
DPNSMORB] YUMAN AND YAQUI MUSIC 175
No. 104. Song at About Midnight (b)
(Catalogue No. 1248)
Recorded by NumAawAsoAtT
2 aes 6a a 42) 43) eS
heey ——_—__}__t{ __ Fe
| _ a a
ih ad d6,
Node Moo oan dan
Analysis——Like the preceding song, this has a compass of seven
tones, is based on the fourth 5-toned scale, and has the sixth lowered
a semitone. Unlike the preceding, it contains no rhythmic unit,
though the several phrases bear a close resemblance to one another.
The ascending and descending intervals are about equal in number.
About 57 per cent of the intervals are minor thirds, although the
song is major in tonality.
671883—32——13
176 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 105. Song at About Midnight (c)
(Catalogue No. 1249)
Recorded by NuMAWASOAT
ms Ga
H
: en
(s ESSERE ERT as FD Sen Be
SB) 6
EE CSS BS AS SSeS
Analysis —Two measures transcribed in quadruple time occur in
this melody and are unusual in recorded Indian songs. There were
no secondary accents in these measures which appear to serve as an
introduction to the rhythmic unit. The rattle was somewhat irregu-
lar in the quadruple measures and was continuous during the pause
of the voice. The song progresses chiefly by whole tones which com-
prise about two-thirds of the intervals.
YUMAN AND YAQUI MUSIC VAG
\DENSMORB]
No. 106. Song at About Midnight (d)
(Catalogue No. 1250)
Recorded by NUMAWASOAT
DTT DAT DIT
AJ dh
Rattle
(3)
DINTT DIT SINT
pan oT
Jd DISD
J NT
®
=@ =) 4 4a
P By Bava’ S| Pee Bo ee
Pa Gt E/E 2 Ae ee
A ps
Beaune Pe
DIT DIN DIT DAT DIN DT
Analysis.—This song contains a particularly clear thematic form.
Three rhythmic units occur, and the contrasts between them are
interesting. The first unit contains a descending minor third and
the second contains an ascending minor third, while the third unit
contains this interval in both ascending and descending progression.
178 BUREAU OF AMERICAN ETHNOLOGY (BULL. 110 ©
The two measures following the pause contain a descending trend,
followed by three measures which resemble all the rhythmic units
without duplicating any of them. About three-fourths of the inter-
vals are minor thirds, this interval occurring 32 times in ascending
and 83 times in descending progression. The melody tones are those
of the fourth 5-toned scale.
No. 107. Song Concerning the Diver
(Catalogue No. 1251)
Recorded by NUMAWASOAT
Voice J = 16
Rattle @ = 76
See rattle-rhythm below Temes PT Piaede 2 Col
ee 3 0 ae TS 4. 4
we BS 4 6 SS ES ae
= 6’ I ee
oa 8 oo
Ss _
Rattle when discernable
JBII3
Analysis.—In this and the four songs next following the fourth is
a prominent interval. All these songs were sung in the early morn-
ing. Three of the series are based on the fourth 5-toned scale. The
present song is major in tonality, but the interval of a major third
does not occur. More than half the 62 intervals are minor thirds
and 22 are fourths. Attention is directed to the note values in
measures 14 to 16, which were given with distinctness.
DENSMORB] YUMAN AND YAQUI MUSIC 179
No. 108. Song Concerning the Pleiades
(Catalogue No. 1252)
Recorded by NuMAWASOAT
Voice A = 96
Rattle @ = 96 (a)
Rattle-rhythm similar to No.99 = -———————_q
=>
Analysis —Songs concerning a star appear to be unusual among
the Indians. A Chippewa song for success in hunting contained the
words, “ Like a star I shine, the animal, gazing, is fascinated by my
light.” (Bull. 45, No. 69.) A song of the Midewiwin in the same
tribe contained the words “ Beautiful as a star hanging in the sky is
our Mide lodge.” (Bull. 45, No. 44.) Two Pawnee songs mentioned
a star which spoke in a dream and gave assistance. (Bull. 93, Nos.
57 and 80.) The present melody is characterized by an accented high
tone, slightly prolonged and followed by a descending trend of six
or seven tones. The compass is seven tones, which occurs frequently
in the present series. Progression is chiefly by minor thirds, but the
descending fourth is a frequent and prominent interval.
180 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 109. Song in the Early Morning (a)
(Catalogue No. 1253)
Recorded by NUMAWASOAT
Voice d = 72
Rattle - 72
See rattle-rhythm below
Ai)
wo UT Sa PSE ) ee ee
fad CF D210) ae ee A ee ee 2 ee ee ee | A)
pee tT pp ty te st Tet {ms} fy mtg = <aet —
a eee ——
2 =] ES es Se
aa OF) 4) =a) Gt a Ee fo ass
7 42S SP a ee es es ee,
Ce |W a > BE
See SS: a 2 se ee
(rW- oe e
Rattle, when discernible
aaedsad,
Analysis.—In this song a semitone constitutes about one-third of
the progressions. ‘This interval appears to be difficult for an Indian
to sing. It occurs infrequently in recorded Indian songs (see Tables
11 and 12, pp. 33 and 205), and its transcription should be understood
as approximate in pitch. The intonation on the tone transcribed as
E was also uncertain, this tone frequently being sung lower than the
indicated pitch. Two rhythmic units occur, the second reversing
the principal count division of the first unit. The song is analyzed
— tg). —~
aQ
% 2s
ro “7 3 a
fax}
2 5 S
2 2 é
3 S
4 he bn
a =
o° 5” =
ae Z's
DD A Rats
AS a
ie} iS =, =
al qa: —
ae es 5 P|
a es = 3
a nS 5 8
pee of
ee x ov i ia
2p «© 3 | <
fut
oS Om 3 a
<q 3 [ea] =)
Hy Se - Z
—
Bee sed te
a AW) =I 3
n “= ®
on is
4 ga 2 OE
3s Sf & 8
el cet ed
Ee bp : ° few
ae |
“4s oF
a :
2S unr s
Ee Z,
aad
=
Qo w
a 8
a
ee
2 ) mp
S so Mixe}
od Sper tee] et
=| “4 nn
ae -~o‘s
Rattle tremolo
bd hdno
ry)
daddy dd
dd,
B)
et
bddr dd
Rattle
dof
ddd S
Analysis—The phrases in this song are unusually short and the
rhythmic unit contains only four tones.
The melody is based on
the fourth 5-toned scale, but the keynote of that series occurs only
182 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
twice and the principal interval is the minor third. The rhythm
of the rattle was descernible throughout the performance and its
rhythm conforms to that of the melody except in the opening
measures, during which it was shaken rapidly. ‘The term “ tremolo ”
is sometimes used to designate this rapid motion of the rattle.
No. 111. Closing Song of the Dance
(Catalogue No. 1255)
Recorded by NuMAWASoAT
aha abbey dh hued) athepatsachaher aba tea tee
Analysis —No change of measure length occurs in this song which
is in 5-8 time. Both these peculiarities are unusual in recorded
Indian songs. (See Tables 15 and 16, pp. 35 and 206.) A further pe-
culiarity is the ending on the tone above the keynote. The song
is based on the triad F, A, C, but G appears twice as an accented
tone and is also the closing tone. Attention is directed to the occur-
rence of a sixteenth note as an accented tone and also as an unac-
cented tone following instead of preceding a dotted eighth note.
The accents were strongly given in all renditions.
MOHAVE BIRD DANCE
It was said that the songs of this dance were particularly pleas-
ing, but only four were recorded, as the Mohave songs were not a
subject of special investigation. ‘Three were transcribed and show
a somewhat different structure than the Yuman and Cocopa. These
Mohave songs have a somewhat larger compass and are more lively
in general character than the songs of the other Yuman tribes under
consideration. Leonard Cleveland, who recorded the songs, is an
educated Mohave, living on the Yuma Reservation.
Each portion of the night had its own songs in this as in other
song cycles and the songs here presented were sung about mid-
night. The words of the first song were concerning the darkness
and the words of the second song (not transcribed) were concerning
a certain sort of birds “ on their way traveling up north.”
DENSMORE] YUMAN AND YAQUI MUSIC 183
No. 112. Bird Dance Song (a)
(Catalogue No. 1289)
Recorded by LEoNARD CLEVELAND
Analysis —Two rhythmic units occur in this song, differing only
in the divisions of one count. In the middle portion of the song the
group of four sixteenth notes is transferred from the unaccented
count to the accented count, giving variety and character to the
rhythm of the song as a whole. The compass is nine tones, the only
songs in this work which have a compass of more than an octave
being this and No. 124, which has a compass of 10 tones. The com-
pass of this group of songs is smaller than any previously analyzed,
90 per cent having a range of seven tones or less. (See Table 5, p. 30.)
Among the Papago songs the highest percentage had a compass of
an octave, these comprising 40 per cent of the entire number. (Bull.
89, Table 5, p. 6.) The highest percentage of songs with a large
compass were found among the Chippewa, 41 per cent having a
compass of 12 or more tones, but the largest compass was found
among the Sioux, three songs of that tribe having a compass of 17
tones. (Bull. 61, Table 5a, p. 28.) About half the progressions in
this song are whole tones. The fourth is a prominent interval in
ascending progressions.
In the next song the birds speak, saying, “ Now we are gone.”
184 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
No. 113. Bird Dance Song (b)
(Catalogue No. 1290)
Recorded by Lronarp CLEVELAND
Analysis.—No other song recorded by the writer has contained the
alternating phrases in. different tempi which characterize this song.
The phrases are indicated as the rhythmic units and one contains a
rest. These phrases or units are different in character as well as in
tempo, the first containing two triplets and the second containing
two dotted eighth notes. Minor thirds and major seconds are about
equal in number and together constitute 33 of the 39 intervals in
the song.
Concerning the final song it was said: “The birds stop now to eat
and see some cattle. They say this in the song.”
DBNSMORB] YUMAN AND YAQUI MUSIC 185
No. 114. Bird Dance Song (c)
(Catalogue No. 1291)
Recorded by LEONARD CLEVELAND
° 5
WS 4 2 1 4S 4S Le © es ae GS ee
7S 3 a 0 0 ee A @ CS. Sa
Analysis —Three rhythmic units occur in this song, each containing
two measures and differing from the others in the count divisions of
the second measure. The melody contains little variety except in
the portion which ascends to E flat and F, this being an unusually
interesting and pleasing phrase. The whole tone is the most fre-
quent progression, comprising 24 of the 60 intervals. The song has a
compass of eight tones and is based on the second 5-toned scale.
COCOPA TCUMANPA’XWA DANCE
The meaning of the name of this dance was not ascertained. It
was danced by unmarried girls and men, usually five to seven in
number. There were more singers than in the Bird dance, the leader
often having three or four helpers on either side, each man having a
gourd rattle. At first they were all seated, the singers in a row and
the dancers facing them. When all was ready they sprang to their
feet, the singers advancing and pushing the line of dancers back-
ward. The distance thus traversed was according to the wish of the
186 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
singers, perhaps a few feet or perhaps quite a distance. Sometimes
the lines were 3 feet apart and sometimes only about a foot apart. |
In its motion the dance resembles the Bear dance of the Northern —
Ute, as described in Bulletin 75, pages 57-58.
The step of this dance was about 4 inches, or even less, in length, —
the foot which was moved backward being placed on the ground with ~
the toe scarcely halfway down the ball of the other foot. With each |
step the knees were bent and the head thrust slightly forward. It —
was said that “they moved backward, then forward, then stopped
and danced standing still.”
The songs of this dance were recorded by a young man commonly
known as Mike Barley (pl. 80,6), who spoke no English and hesitated
to sing the songs in the daytime. He said that he inherited them
from his grandfather and could sing them without being taught, this
being in accord with the Yuman belief that a man may “ dream ” the
knowledge of song cycles. The entire series of songs required an
entire night for rendition, and there was said to be no narrative in it,
the series being only for dancing. Each part of the night had its own
songs, but the singer selected a few from those which were sung
“along toward morning.” ‘The words were in the “old language.”
The first songs of the dance were said to mention the evening and
certain animals and insects, but beyond this the meaning of the songs
was not known.
One of the records made by Mike Barley was played for Katcora,
a Yuma singer and informant, who repeated the syllables (or words),
but said he did not know the meaning. He also recorded the song,
his rendition being practically a duplicate of the one here presented.
pENSMORB] YUMAN AND YAQUI MUSIC 187
No. 115. Dancing Song (a)
(Catalogue No. 1268)
d = 84 Reeorded by MikE BARLEY
Ste pe FY
SSS ‘ag Bee ei fy Sees
Sai eee Go eae ws BS BE. 2 i BS ae ie ea eee
sd — em — 1} 8 rs FE Het a
a enerer Daddsd DIADIA DIDI Dodd sd dodoy
" renter at
a dad ib
A — eet FY
Sek sels x Dand WS DDS DohdS Dodd G3
Analysis —This and the four songs next following are songs of a
different dance than the Bird dance and the general character is dif-
ferent. They are more spirited and the rhythm is more decided. A
persistent accent on a high tone followed by a descending and then
an ascending trend is a characteristic of the present song. Attention
is directed to the quadruple measures which, with a slightly prolonged
rest, serve to break the steady swing of the rhythm. After the pause
we find a reversal of a previous count division in which a sixteenth
note is accented, while the dotted eighth follows on the unaccented
188 BUREAU OF AMERICAN ETHNOLOGY [BULL 110
part of the count. The rhythm of the rattle is continuous except |
during the long pause. The only intervals are major and minor
thirds and whole tones. The song, which is so energetic, has a com-
pass of only five tones.
No. 116. Dancing Song (b)
(Catalogue No. 1269)
Recorded by MIke BaRLEY
J
i 4335 _4 3 eee 3 —_ 2 ) at ae A A ARE
f 7 GSE ee |) ee ee a |) ee a ee SS |
V eS. Glo Seay + | t- hess] be vg =} —} aS ee a ee ee es ee. es
= be =
Dahhohhgh DaADTS DAD ZHD IS
i i Z| 0-9-9 — ©) B.S.
ste taf ee ae Pept rere at
Fg tenant — tee fg toot tas ff
daddys Dah me 7 i gdh Deb aAbad
DBNSMORB] YUMAN AND YAQUI MUSIC 189
No. 116 (continued)
| & 1 ‘SS a A 8 A lA OY | cb a er wiwae- 8
a fect TE yf ay fe ae ia ee
| & “aaa
sa I Se Se SS a _
| ty et ant} 4 Se ee
=. == = = =
2 i ee SSS
bh: Dosh pedo wan Db dD 95) 4h
bbs 2550 ONES dD IS 2 sha)
Dd AD IK i iy, x) | Ded ih
Analysis —This song contains only the tones F, A flat, B flat, and C
flat, the latter being given with distinctness. This is an example of a
melody which is not in accordance with an established system. These
tones might be used in such a sequence as to suggest A flat as the
keynote, but F is so strongly emphasized and so closely associated
with A flat that the song is analyzed as being in the key of F minor
with the fifth lowered a Seas This should be recognized as one
of the instances in which ordinary musical notation and the present
system of analysis are used only to assist observation of the melody.
Two rhythmic units occur, the difference between them being chiefly
in the accent on the three dotted eighth notes, this group being
unaccented in the first unit and strongly accented in the second unit.
(BULL. 110
BUREAU OF AMERICAN ETHNOLOGY
190
No. 117. Dancing Song (c)
(Catalogue No. 1270)
Recorded by MIKE BARLEY
5)
Sod bd dA dD THDIAD ISD
Rattle
LIS) hd 9
LIDIA DISD +
|) ee i _ 27 1A |
4
pA DNA DAD DAD IA Db dD 4
4
* - ° ° 4 . f .
A 8 SST A a 0 a ee Pe ee)
)
z
o-S- 1
om
ars 0
A ee ee
8 al
Ss iw
; D | anoae
1 DR PL 6 UE eens SSE TE
Lahh sh ddA DADA DAL y
Rattle silent
i Saddoh dg hh, Lbbsd
s }
DPA IS DF
Lbahds Dd dyAdgd Dads
LIBS »
DENSMORB] YUMAN AND YAQUI MUSIC 191
Analysis—This song has a compass of four tones, but uses only
the first, third, and fourth of these tones. The difference between the
two rhythmic units was slight but steadily maintained. The rattle
was particularly clear and its correlation with the voice on the trip-
lets was not exact but the transcription is near enough for practical
purposes. As in No, 105, the rattle was continuous during the pause
of the voice. 'The rendition closed with a repetition of the last twelve
measures.
No. 118. Dancing Song (d)
(Catalogue No. 1271)
Recorded by MIkE BarLEy
" é
DIF See ae ea
ee 8 5 eS es
3 (E hae Ee eee ee
ee ae 2 ee ee ee
a ee 2 a
Analysis—This song has a compass of six tones, using all the
tones in the compass except the second. The tonality is minor, but
the major third comprises 18 of the 65 intervals. ‘The intonation in
the latter part of the song was uncertain on the tone A, and the
transcription of the measures containing D sharp and A sharp
should be regarded as approximate. Attention is directed to the
syncopation, followed by a descending trend and an ascent to the
original tone, this melodic movement suggesting the forward and
backward motion of the dancers. The final interval is descending,
in contrast to many songs of this series which close with an ascending
progression.
67183—32 14
192 BUREAU OF AMERICAN ETHNOLOGY [BULL 110 —
No. 119. Dancing Song (e)
(Catalogue No. 1272)
Recorded by Mike BARLEY
Voice d 2 96
Rattle d = 96
Rattle-rhythm similar to No. 115
Analysis.—This song is somewhat monotonous in its melodic trend
but the rhythm is energetic and interesting. As in many of these
songs, the highest tones occur in the measures immediately following
the pause. A syncopation occurs, also several quadruple measures.
The melodic tones are those of the major triad and second. The
intervals comprise only major and minor thirds and major seconds,
the latter constituting two-thirds of the progressions. The general
rhythm and the rhythmic unit resemble those of other songs of this
dance.
DENSMORB] YUMAN AND YAQUI MUSIC 193
YUMA TUNA’K DANCE
It was the early custom of the Yuma to hold a “ maturity dance ”
(Tuna’k) for several girls at a time. A circular hole was dug about
21% or 3 feet in depth and the girls lay face downward in this hole
with their heads toward the south. The dancers were on the edge
of this cavity.
The first song of the group is the beginning of the series sung
in the evening and says the girls are being placed in the hole. The
dance continued all night. Mrs. Wilson (pl. 31, 6), who recorded
the songs, is the wife of Charles Wilson. Her Yuma name is
Mave’, said to be a clan name meaning “snake.” In addition to the
songs she recorded a series of numbers in the “old language ” from
1 to 38, saying this was all she could remember of that language.
No. 120. Song of Tunak Dance (a)
(Catalogue No. 1224)
Recorded by Mrs. WILSON
Analysis —With one exception the only tones in the melody are
G sharp, A sharp, and B. A short rhythmic phrase is repeated,
and the song as a whole has a rhythmic unity which is interesting
and pleasing to the ear. More than half the intervals are semitones.
No. 121. Song of Tunak Dance (b)
(Catalogue No. 1225)
Recorded by Mrs. WILSON
d 53
Irregular in tonality
Analysis—This song is classified as irregular in tonality. With
the exception of three intervals the melody progresses by whole
tones. The tempo is unusually slow.
194 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 122. Song of Tunak Dance (c)
(Catalogue No. 1226)
Recorded by Mis. WILSON
Analysis —The compass of this song is only three tones and the
progressions consist of 28 whole tones and one ascending major
third. Instead of the monotony which might be expected from the
progressions we find a varied and pleasing melody due to the rhythm.
Attention is directed to the difference in the length of measures 5 and
10 which follow the rhythmic units, the latter of these measures
carrying the rhythm forward to the end of the song.
No. 123. Song of Tunak Dance (d)
(Catalogue No. 1227)
Recorded by Mrs. WIiLson
Analysis.—The only tones in this melody are G sharp and B, the
former being considered the keynote. In rhythm the song is less
simple than in its melodic progressions. The eighth note followed
by two sixteenth notes can scarcely be considered a rhythmic unit
as it occurs on both accented and unaccented counts and forms a
part of longer phrases.
YUMA GAMES
The three games played by the Yuma were Tcata’s (shinny),
Otu’r, a form of “hoop and stick” game, and Peo’n, which consisted
in hiding a small object in the hand. ‘The first of these games is
DENSMORE] YUMAN AND YAQUI MUSIC 195
described in connection with a man’s name, on page 43. The imple-
ments of Otur consisted of two poles about 15 feet long, the thickness
of a man’s thumb, and a hoop 4 to 6 inches in diameter, wound with
twine or rags. One player rolled the hoop along the ground, and
both players ran after it, throwing their poles toward the hoop. Dr.
H. F. C. ten Kate, jr., who witnessed this game among the Yuma,
states that the men “hastily threw their poles at the ring so that it
is stopped.” He was not certain whether the sticks had to be thrown
through the ring or whether the count depended upon the particular
way in which the pole lay beside it.** No songs were used with
these games.
The peon game is played only at night. In old times the article
hidden was a short piece of the leg bone of a crane.*
At the present time any small bone is used. Usually there are four
players on each side. They start the singing at the proper time.
They kneel in two rows facing each other, and “ dance” in that posi-
tion, bending from side to side, rising up and sinking down again.
Usually there is a referee appointed by the two sides who holds the
wagers and watches the game. Before the play begins he makes a
speech, directing the players to hold up the little bones so everyone
can see them; then he gives the signal for the play to begin. The
player at one end of the row is first to conceal the bone. If the man
directly opposite him guesses correctly in which hand he is holding
the bone the play passes to the opposite side. If the first man
guesses incorrectly, the man at his left hand may guess, and so on
to the end of the line. When one point has been made the singing
is started by the players on the winning side and taken up by the
crowd standing behind them. The referee sings with either side, as
he is supposed to be strictly impartial. The spectators, who wager
on the game, usually have silver coins in a handkerchief, and jingle
it like a rattle. Articles of value as well as coin are wagered, and are
waved in the air above the heads of the players. It is required that
the referee shall remember the face of every man who makes a wager
and the amount of his bet. Ifa man makes a false claim and receives
money in payment of a bet the referee must replace the amount from
*% Culin, Stewart, Games of the North American Indians, Twenty-fourth Ann. Rept. Bur.
Amer. Ethn., p. 526. This game is also mentioned in a legend recorded among the
Pawnee, in Bull. 93, Bur. Amer. Ethn., p. 99.
*® A set of these bones was collected among the Mohave by Dr. Edward L. Palmer, the
bones being 23g inches long and one-quarter inch in diameter, Doctor Palmer states:
“These bones are made of the leg bone of the white crane. Six pieces constitute the set,
there being two sides with three pieces on a side, of different lengths. The game is to
guess the length of the pieces held in the hands of the players. A very small end pro-
truded through the fingers. As the opposite sides guess, it is an animated game.’ Con-
tinuing, he states that the same bones are used by the Yuma and Cocopa and that the
game is to guess in which hand the bones are held. The bones used by one side are
white and those used by the other side are black. (Culin, Games of the North American
Indians, Twenty-fourth Ann. Rept. Bur. Amer. Ethn., p, 326.)
196 BUREAU OF AMERICAN ETHNOLOGY [BULE. 110
his personal funds, as he forgot the man’s face and paid money to the
wrong person. Before the money is paid to the winners it is spread
out and counted in view of the company, to be sure that all the money
which was wagered is in the hands of the referee. The amount of
the individual bets is also sorted out “ dollar for dollar.” The game
does not proceed until this is fully settled.
The Cocopa often challenged the Yuma to this game, naming
the place where the game was to be held.
The songs of the peon game are accompanied by a nasal sound
made by forcing the breath through the nose by a spasmodic con-
traction of the chest. No drum or rattle is used. The rhythm of
the accompaniment is indicated in the transcription.
Two songs were recorded. These are very old and the words are
in an obsolete language. The singer, Nelson Rainbow, acted as
one of the writer’s interpreters among the Cocopa, and the crema-
tion of his son is mentioned on page 43. He is employed as a car-
penter and in other capacities at the agency.
No. 124. Game Song (a)
(Catalogue No. 1241)
Recorded by Netson RAINBOW
Voice d = 76
Vocal accompaniment d: 16
See rhythm below
~~”
Accompaniment rhythm
lode lddil
DENS MORD] YUMAN AND YAQUI MUSIC 197
Analysis —A vigorous rhythmic unit characterizes this song, its
repetitions comprising or influencing the entire melody. Attention is
directed to the opening measures, to the seventh and eighth meas-
ures, and to a corresponding phrase near the close of the song; these
measures closely resembling the rhythmic unit. This has a com-
pass of 10 tones, which is larger than any other song under present
analysis. (Cf. No. 112.) The ascent of an octave, occurring mid-
way the length of the song, carries the melody to the highest tone
of the compass. The lowest tone is reached in six measures and
the song ends on the lower tones of the compass.
No. 125. Game Song (b)
(Catalogue No. 1242)
Recorded by NELson RAINBOW
Ji on
Accompaniment similar to No, 124
Analysis —This song is based on the second 5-toned scale and has
a compass of seven tones. The ascending and descending intervals
are equal in number and the minor thirds and major seconds are
practically equal in ascending and descending progression. ‘This
song is rhythmic in character but contains no unit of rhythm. There
are phrases that closely resemble each other, and one is reminded
that the purpose of the song was to baffle the player’s opponents,
attempting to guess the location of a hidden object. Attention is
directed to the effect produced by the change to triple time in the
seventh measure, and to the ascending whole tone in the thirteenth
measure, with the interesting effects produced by these features of
the melody.
198 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
YUMA SONGS FOR CHILDREN
The following simple melodies were recorded by Mrs. Charles
Wilson (pl. 31, 6), a woman of strong character and gentle manner.
Ne. 126. Lullaby
(Catalogue No. 1228)
Recorded by Mrs. WILson
TRANSLATION
Sleep, sleep. It will carry you into the land of wonderful dreams, and in
your dreams you will see a future day and your future family.
Analysis.—This is one of the most attractive melodies recorded
among the Yuma. It contains a larger variety of intervals than
is found in a majority of Indian songs, though about two-thirds of
the intervals are major thirds. It is interesting to note the ascent
and descent of a seventh in the closing phrase.
No. 127. “ Why Did You Cry? ”
(Catalogue No. 1229)
Recorded by Mrs. WImLson
TRANSLATION
Why did you cry; why did you cry?
Have you stepped on a thorn; have you stepped on a thorn?
Analysis—The ascending and descending intervals in this song
are about equal in number. The melody moves freely within its
compass of seven tones, as it contains 37 progressions in 10 meas-
DBNSMORB] YUMAN AND YAQUI MUSIC 199
ures. In the opening phrases we seem to hear a question which is
repeated near the close of the song. About three-fourths of the
intervals are whole tones which are used consecutively throughout
the melody. The rapid sixteenth notes in the closing measures are
probably required by the words addressed to the child.
No. 128. “ Sleep, My Baby ”
(Catalogue No. 1230)
Recorded by Mrs. WILson
TRANSLATION
Sleep, my baby; sleep, my son (or my daughter)
Analysis —In this pleasing melody we find the ascending fourth
followed by a descending whole tone which characterized the songs
for treating the sick (Nos. 40-48). This was mentioned in the
analyses of these songs as a particularly soothing phrase, and it is
interesting to find it in a song to induce sleep. The rhythmic unit
contains a different group of tones and is somewhat restless in char-
acter. Minor thirds and whole tones are about equal in number;
the other intervals comprising one semitone and three ascending
fourths.
MISCELLANEOUS YAQUI SONGS
The two songs next following are examples of Yaqui songs with
Mexican influence. They were always sung with guitar accompani-
ment and were recorded in that manner, the sound of the guitar
being audible throughout the length of the phonograph cylinder.
The words of the song are in the exact language of the interpreter
and bear an interesting resemblance to a song of the Tule Indians of
Panama which is also given in the words of the interpreter. (Music
of the Tule Indians of Panama, No. 9, p. 34.)
TULE LOVE SONG
Many pretty flowers, red, blue and yellow,
We say to the girls, “ Let us go and walk among the flowers.”
The wind comes and sways the flowers,
The girls are like that when they dance.
Some are wide-open, large flowers and some are tiny little flowers.
The birds love the sunshine and the Starlight.
The flowers smell sweet.
The girls are sweeter than the flowers.
200 BUREAU OF AMERICAN ETHNOLOGY [BULL, 110
No. 129. Song of Admiration
(Catalogue No. 1287)
Recorded by ANKA ALVAREZ
2 UF Be) A ee ee
BW OF 1) io 2 ee ee
Dy Ae Ey aaa
Leh ff
4 OF.
> ZEA) ) GS
| ETT TED)
TRANSLATION
In Cocori (a town in Mexico) is a young girl whose name is Hesucita.
She is a pretty girl.
Her eyes look like stars.
Her pretty eyes are like stars moving.
Analysis —The rhythm of this song is complex and of unusual
interest. ‘Two rhythmic units occur, each having a series of four
quarter notes followed by’a dotted quarter and a descent of the voice,
but in the first unit the quarter notes are in triple time and in the
second unit they are in double time. Variety is given by the eighth
rest in the third occurrence of the first unit, taking the place of the
downward slur of the voice on the same interval. This is followed by
an upward progression similar to that which follows the first occur-
rence of the second unit and the song closes gracefully with two
occurrences of the first unit. The connective phrase resembles the
opening of the song but the first measures are in double instead of
triple time.
The next song could be sung at any time and was frequently sung
by young men on horseback.
.
DENSMoRD] YUMAN AND YAQUI MUSIC 201
No. 130. Yaqui Song
(Catalogue No. 1286)
Recorded by JoSE Marin UMADA
TRANSLATION
I have no money to go to the ranch.
Analysis —This song comprises four periods of five measures each.
The first two and the last two have rhythmic units which differ only
in the first measure. This difference, with the additional quarter note
in the fifth measure, gives character to the rhythm of the song as a
whole. The song is minor in tonality, has a compass of six tones and
contains all the tones of the octave except the seventh. Half of the
intervals are semitones. The melody suggests a Mexican influence,
though the Indians insisted that it was a Yaqui song. A distinct
slurring of the voice occurred between certain tones, as indicated.
The other tones were sung with unusual precision of attack and the
rests were given their exact time.
202
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 110
MELODIC AND RHYTHMIC ANALYSIS OF SONGS BY
SERIAL NUMBERS
Metopic ANALYsIS
TABLE 1—TONALITY
IN um-
Serial number of songs ey? | pi
|
WMaldr tonalitye*2 | 1, 2, 4, 12, 15, 19, 21, 22, 23, 25, 27, 31, 33, 34, 35, 36, 39, 40, 41, 62 49
42, 43, 44, 45, 46, 47, 48, 50, 52, 53, 54, 65, 67, 70, 71, 77, 78, 84,
85, 86, 87, 88, 89, 90, 91, 92, 93, 95, 101, 102, 103, 104, 105, 106,
107, 108, 110, 111, 112, 119, 122, 127, 129.
Minoritonality seer 5, 6, 7, 8, 9, 10, 11, 13, 14, 17, 24, 26, 28, 32, 37,49, 51, 56,57, 58, | 55 42
59, 60, 61, 62, 63, 64, 66, 69, 74, 75, 76, 79, 80, 81, 82, 83, 94, 97,
98, 99, 100, 109, 113, 114, 115, 116, 117, 118, 120, 123, 124, 125,
126, 128, 1380.
Wrajoniand minor tonality) (Same) 96-2 = ee eee Le A ee eee et ee ae
keynote).
Thirdapove: keynote absent: 43.48; 29980, GS. ae a ee Ee ees 5 s
Irregular in tonality. ......-__-- 1692088450) Tae Tok 2 tae enn ane fire ap ere a “f §
SE ee yp ig tA I ay Pa aS Be 5 RNR Ce OEE SESS 130s oe
a |
TABLE 2.—FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE
Serial number of songs a Ee
Beginning on the—
Six theses etek ha Aneta Cenc nge SMI QUDTHGONRGi: kee Lf Lue gece eee ne OM eee eae 5 4
earths OU LP PE h a2, 4, 23, 29, 30, 32, 34, 35, 37, 40, 41, 42, 43, 44, 45, 47, 50, 64, 68, 70, | 28 21
89, 90, 91, 94, 100, 101, 103, 107, 110.
HoOunth eee ee uk aa IS ACS 4 AS FT A No in IE Caley Ab IR “og y 6 4
Piirde see A Cees 8, 9, 12, 17, 22, 25, 27, 28, 49, 52, 58, 59, 61, 63, 64, 67, 74, 77, 84, | 39 30
85, 86, 87, 88, 98, 104, 106, 109, 113, 114, 115, 116, 117, 124,
125, 126, 127, 128, 129, 130.
HOCONGe se 2. ease Ae ee 26 1LO a ADO 2 an ew eee oe. SERRA RD ee 3 2
IKOWNODLO: #2 2 a et st 1, 2, 5, 6, 7, 10, 11, 13, 14, 15, 19, 31, 36, 39, 46, 48, 53, 56, 57, 60, | 42 3s
62, 65, 66, 69, 71, 73, 75, 76, 78, 79, 80, 81, 82, 83, 92, 93, 99,
108, 112, 119, 120, 122, 123.
Irregular in tonality_._.._.____- bal, 20538: Sbivg 248, LOU. SEE eye 25 mages | aye ees oe hi ag 7 6
Wopelsooe. 2 Vi Dien se eee oe A EE ee BAe RE SA IOV sas
TABLE 3.—LAST NOTE OF SONG—ITS RELATION TO KEYNOTE
Serial number of songs Neo bias
Ending on the—
TOT Tae at AE SS a 3, 21, 33, 34, 35, 36, 40, 41, 42, 47, 54, 67, 68, 70, 101, 102, 103, | 23 18
104, 106, 107, 108, 110, 112.
Dlr Saree ak tees es eae 4, 7, 8, 9, 11, 12, 13, 17, 22, 23, 29, 30, 32, 43, 45, 50, 51, 52, 58, 74, 31 25
77, 94, 98, 99, 113, 114, 116, 117, 118, 124, 125.
SBCONG 26. fee. eee eee nL bh PR ee ne A es Se Re. . pe) 6) seks Ane ape Be st) fe | pi pees =
Keyriotoseese eau 1, 2, 5, 6, 10, 14, 15, 18, 19, 24, 25, 26, 27, 28, 31, 37, 39, 44, 46, 48, | 68 50
49, 53, 56, 57, 59, 60, 61, 62, 63, 64, 65, 66, 69, 71, 75, 76, 78, 79,
80, 81, 82, 83, 84, 85, 86, 87, 8%, 89, 90, 91, 92, 93, 95, 96, 97,
100, 105, 109, 115, 119, 120, 122, 123, 126, 127, 128, 129, 130.
Irregular in tonality__..______.-- 163/20; 38565, 02; Vay Wali ee bas Soe oan ce eee eeee 7 5
WROGAIE SS soon eo Oe) SIC Ge ee OREN PPE Va a Cee ene Oe Se CB eee ree ee BE 1 ig ees
DENSMORB]
YUMAN AND YAQUI MUSIC
TABLE 4.—LAST NOTE OF SONG—ITS RELATION TO COMPASS OF SONG
203
Serial number of songs
Songs in which final note is—
Lowest in song
Immediately preceded by !—
Fourth below
Major third below
Minor third below
Whole tone below
Semitone below
Songs containing notes lower
than, but not immediately
preceding, final note.
29
9
1, 3, 4, 5, 15, 16, 17, 20, 24, 25
53, 57, 71, 83, 84, 85, 88, 8
122, 123, 126, 128.
7,
1,
, 27, 29, 30, 37, 38, 43, 49, 51, 52,
91, 93, 95, 96, 97, 105, 112, 119,
Bye 30) 80 08710, 100,100-8 ee eer ee) epi ee
Ay ODN AG G06] 62, 68y Tie Wy S2 so 862 ee eg
7, 8, 9, 11, 13, 14, 18, 21, 31, 32, 33, 34, 35, 36, 40, 41, 42, 58, 65,
67, 69, 72, 73, 74, 76, 78, 81, 94, 98, 99, 101, 102, 103, 104, 106,
107, 108, 110, 113, 114, 116, 117, 124, 125.
MARTA SORE te AS ar ae eee tae Se yet ee
CUT APG HES Ns Tle AO AE I SN RI CP
18, 19, 26, 45, 46, 47, 50, 54, 56, 66, 79, 86, 87, 90, 115, 118, 120,
127.
39
11
44
1 A portion of these songs contain notes lower than the final note, as well as the lower tone which im-
mediately precedes it.
TABLE 5.—NUMBER
OF TONES COMPRISED IN COMPASS OF SONG
Serial number of songs
Compass of—
10 tones
31, 33, 39, 50, 54, 61, 65, 75, 79, 80, 87, 94, 97, 114, 129..-..-___-
18, 19, 21, 35, 36, 40, 41, 42, 43, 48, 49, 51. 60, 62, 63, 64, 68, 69,
70, 72, 73, 74, 76, 81, 82, 90, 98, 101, 102, 103, 104, 106, 107,
108, 109, 110, 113, 125, 126, 127.
4, 6, 14, 15, 22, 23, 26, 28, 34, 44, 45, 46, 47, 59, 67, 77, 86, 92,
100, 120, 128, 130.
3, 7, 8, 10, 12, 13, 17, 20, 24, 25, 29, 30, 32, 37, 38, 52, 53, 55, 56,
66, 71, 84, 85, 88, 89, 91, 93, 95, 96, 105, 111, 115, 116, 118, 119,
121.
1, 2, 9, 11, 16, 27, 58, 99, 117
5, 57, 83, 122, 123
Num-| Per
ber | cent
be eee
pn ele ars
15 11
40 82
22 17
35 27
10 ef
5 4
130))|=<===2
204 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110
TABLE 6.—TONE MATERIAL
Serial number of songs ghee zee
Second 5-toned scale -...-.-..-- 57695574, 175; 80, 07/98, 104, 2bo ko cos Re ceaeeneweeeeeenee 9 7
Fourth 5-toned scale -._-_____-- 33, 35, 36, 41, 42, 43, 52, 54, 65, 78, 87, 90, 101, 102, 103, 104, 106, 20 16
107, 108, 110.
WVisioritridd sees feo es enee VP ae aa ay fi agh Se M oe DN eace DR Ta eeOR re e e 3 2
Major triad and sixth.___-___-- EA ff (earner ee at EN ia A sate tel ee PS Cee eee 2 1
Major triad and second-------_-- 30/84 S8:'S0) Ol ioe ee ee Sk Se ee ee ee ee eee 6 4
Minor triad and sixth_-._-___-- O72 peat eh Oi 2 ae oe Se he ee 2 1
Minor‘triad’and}fourth=2<--=3<-!'7,'8, 9, 18,24, 60,107,,09, Lila, 11d; 110.0222 o2- eee secon ee eee ll 9
Minor triad and second_-_-----.- 05 OS." SE sF E20 weer wee Nae Pa YS A PS ee cones 4 8
Octave complete__.__...-_.-.--- TO Ne ee ae ers tee eet hime We att) a Ae es te eee 1 eee
Octave complete except seventh_| 34, 40, 50, 82, 112, 127, 130__.._...__.--.-------------------- 7
Octave complete except seventh | 15, 17, 18, 19, 28, 44, 46, 53, 60, 61, 62, 63, 85, 92, 96, 100, 105, 20 15
and one other tone. 111, 118, 128.
Octaveicomplete except sixth ='|''48; 49,86, 04U eo koe see we tp eee td en aene ane ped a 4 8
Ostaveicamplete) except: ‘sixth \|)'21),;26; 124: 2220s a See eee ene 3 2
and one other tone.
Octavercompleteexcept fourth: 2| (31h) 70ss2- 2 = ot ne eS a ee at 1
Octave complete except second._| 45, 64, 67, 76, 126..----------------ee-----eeeeeeeeeee cence eee 5| 8
Lacking the third._...........- aE TR OR NNOR OCONEE AVI TES alison
Other combinations of tone_____ 1, 2, 3, 5, 10, 11, 14, 27, 47, 56, 57, 58, 66, 68, 79, 81, 83, 99, 109, 22 17
117, 122, 123,
irregular in'tonality..---.------- 16s: 20w Se Os diy WG Lolenh coe oe ee ba ca nea ea oho neaeeeneees 7 6
PTO Generate So bea os se ee a ak eas Re ee 130") .25225
TABLE 7.—ACCIDENTALS
Serial number of songs alas BS
|
Songs containing— |
No accidentals_.-_____...--- [ie Pe ONAN UR RS AN BS: ory Ga Re hs eee 104 80
Seventh raised__________- POOR aR UML SR IR he ot TSA al ee Oo RO pe SS 2 1
Sixtivraisedes 2.22 28.'252 2° Z6pR12 = SE wee AEE OE LE ee ait. Soe 3 so) ae 2 1
Fourth raised: J. 2.22222 SU PAC AOS ke SAE LS: SEE EL RE Se oe ee oe es 3 2
Sixthvandithird raised: = 32025) 11Se eA ee ee eee: See ee ee ee 1 eS
Seventh lowered___.__--__-- AES BTHOM Onsen 2 ee tee I 8 SS oe cate eee 4 8
Sixth lowered 2.22 222552222. S5;/47¢ 50} 59; LOS WOES 2k Sk 88-2) ae oe, eee See 6 6
MifthWowereds:22-=-—--.-2- 24 «Us ep SA ERE sy ee eee a's Mle CR ere te eno 1 he ee =
Errogulan aes a ee tes 1G 20 SRS S72, FOr aloe eke Te ee so eee eee ‘i 7 6
LE RR PA IR A A a a ee ee 1 AU eS eS See ieee a ae 130 |---=-°
TABLE 8.—STRUCTURE
Serial number of songs aa pal’
Melodic ve S222 6i225 2 See 1, 2, 3, 7, 8, 9, 11, 13, 14, 15, 17, 18, 21, 28, 24, 26, 27, 29, 30, 93 72
31, 34, 35, 37, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51,
52, 53, 54, 56, 57, 58, 59, 60, 61, 62, 63, 64, 66, 67, 68, 69, 70,
74, 75, 76, 79, 80, 81, 82, 83, 84, 85, 87, 88, 90, 92, 93, 94, 96,
97, 98, 100, 101, 102, 103, 105, 106, 109, 111, 112, 113, 114, 117,
118, 120, 122, 125, 126, 127, 128, 129, 130.
Melodic with harmonic frame- | 4, 28, 33, 36, 64, 89, 91, 95, 99, 104, 107, 108, 110, 115, 116__-- 15 10
work.
EDANINIONICS oes seee {ue oe eed 5, 6, 10, 12, 19, 22, 25, 32, 71, 77, 78,86,,.119; 123, 124. = —-_-2-_ 15 10
UTTORUIGN se accel eek coos we cee 16) 20385 /BH. CanitGs lal ass noncacoeceue ease ener ace ee eon 7 6
Motel none Pe LS ea ee eee eae te See eae ee UR ee
DENSMORE] YUMAN AND YAQUI MUSIC 205
TaBLe 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD
Num-| Per
Serial number of songs ber | cont
MO WNWANI 2 fo ncccnce~o no -cee 8, 9, 10, 16, 17, 25, 27, 28, 31, 32, 34, 37, 39, 40, 41, 42, 43, 45, 53 40
47, 48, 50, 52, 53, 54, 55, 59, 61, 63, 64, 71, 73, 84, 89, 90, 91,
94, 96, 97, 102, 105, 107, 108, 109, 111, 112, 113, 115, 117, 121,
124, 125, 129, 130.
i SRY ee LA eB ik dy | 1, 2, 4, 5, 6, 7, 8, 11, 12, 13, 14, 15, 18, 19, 20, 21, 22, 23, 24, 26, | 77 60
29, 30, 33, 35, 36, 38, 44, 46, 49, 53, 56, 57, 58, 60, 62, 65, 66,
67, 68, 69, 70, 72, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 85, 86,
87, 88, 92, 93, 95, 98, 99, 100, 101, 103, 104, 106, 110, 114, 116,
118, 119, 120, 122, 123, 126, 127, 128.
TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD
Number | Per cent
TERERAS ENT AT Ca La nD 8 a ee 2 Se Re ce a rE 3, 215 58
Uae | eS SS re ee a ee 2, 877 47
SATs 1 ee een ee ne ee ee Neely nee 8 SOEs coe e Sek ct ee eee 6; 002% 22 2262 ee
TABLE 11.—_INTERVALS IN DOWNWARD PROGRESSION
Num-| Per Num- | Per
ber cent ber | cent
Interval of a— Interval of a—Continued.
Minion sixth aoe 2822 22. isk rit wear Miajorisecond -- 3. === 2 ---==s 2c 1, 455 4h
Lin (nh ee ae Ae a ee ere oe 34 1 Minorsecondz= © - =. == 22 522s22e 177 6
eCUIe Heer e e o oe s 292 9 ==
Wiriontnird sss =- 22222 oe. ve 349 10 Noteal 9 hao see eee Sees 3, 2l5oi ee =
Minor third oes). 222522 2S 905 $0
TABLE 12—INTERVALS IN UPWARD PROGRESSION
Num-| Per Num- | Per
ber cent ber | cent
Interval of a— Interval of a—Continued.
OULAVGs can coe cee scene sess - Ses Aelereco b IMajorthird 2222 -s—-- aoa 333 12
SUG i Oe ee eee 3) See Minorithird 2 22s-22ses= eee e a 830 8
MMaTOr BIXtN sac pee aso a2 oe Gieesse= IMajorisecondsss-2=ss--sneen === | 1,123 40
Minorjsixth =. os. 225 24-25: 0=- Ja == | iMinor second so+ 24-222" =—=2-— 156 6
Wifth = 222 5 Se eee ces 158 6) aad
Pourth: <.. 23-24-5445. 3%. = 263 9 Total) *. 6 Bos assoc cee3 leap 8ie|= ===
i i
TABLE 13—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL
Oe ae |
REET Her OU SOLES sere tee eee te eae ne ert Se ne can aeseslanseseosesnsaesces@== 130
ISTHE Oa Ne Ne ee ee ee eee 6, 092
SENSED ENTE OER TS TERE TET Ut) ECR eee eee ar ee one See cccncewesnaas==== 17, 697
206 BUREAU OF AMERICAN ETHNOLOGY [Buxv. 110
——
Ruytumic ANALYSIS
TABLE 14.—PART OF MEASURE ON WHICH SONG BEGINS
Serial number of songs ee Bh
Beginning on unaccented part | 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 23, 25, 33, 35, 38, 46, 47, 49, | 68 61
of measure. 52, 53, 54, 56, 57, 58, 59, 60, 61, 63, 64, 66, 67, 69, 70, 71, 72,
73, 74, 78, 79, 80, 81, 83, 85, 86, 88, 91, 92, 94, 95, 97, 99, 100,
105, 106, 107, 108, 109, 111, 116, 119, 120, 124, 125, 126, 127,
129,
Beginning on accented part of | 1, 4, 12, 15, 16, 18, 19, 20, 21, 22, 24, 26, 27, 28, 29, 30, 31, 32, 62 49
measure, 34, 36, 37, 39, 40, 41, 42, 43, 44, 45, 48, 50, 51, 55, 62, 64, 68,
75, 76, 77, 82, 84, 87, 89, 90, 93, 96, 98, 101, 102, 103, 104, 110,
112, 113, 114, 115, 117, 118, 121, 122, 123, 128, 130.
TABLE 15.—RHYTHM (METER) OF FIRST MEASURE
Serial number of songs ber |'cent
First measure in—
2-S time cone cd sooo ssese --| 1, 3, 4, 5, 6, 7, 9, 10, 12, 18, 15, 17, 18, 19, 20, 21, 22, 23, 25, 26, 93 71
27, 28, 29, 30, 32, 33, 35, 36, 37, 40, 41, 42, 43, 45, 47, 48, 52,
53, 54, 55, 56, 57, 58, 60, 62, 63, 65, 66, 67, 68, 69, 70, 73, 74,
75, 76, 80, 82, 83, 84, 85, 87, 88, 90, 91, 92, 93, 94, 96, 97, 98,
99, 100, 101, 102, 103, 104, 105, 108, 109, 110, 112, 113, 114,
145, 117, 120, 121, 122, 123, 124, 127, 130.
BEA timenee estou ars eee 11, 14, 16, 24, 31, 34, 38, 39, 44, 51, 59, 64, 71, 72, 77, 78, 79, | 28 £0
81, 86, 89, 95, 106, 116, 119, 125, 126, 128, 129.
ASG INI he et se ee IER ypc I hs MR oy ct Gk ERNIE Ain WEE eh ne A i i eee
S-SoING ss ae eS ee A656), DO on a neo cos encsdaedonemancocuecssoceneeses—osesee 3 2
ARAL G on Ene cos ee ee 1 VRS a ere ee omg pny Oe AS | 8 ay PES Deh ee pe ee epee pi ee
Ra 2 aes eg Mies C4 ak Oy Uy Sa ha eee eh een eck rapper ahh Shy gk 2 1
G-Sitimeze 2s) So Aa Ri ee sors De ee ]) |ceee se
VE Sih O Soe ateme eee SU 1 5e eee ey OE ELIS Via crtas 8 LCRA NEAL DOR AAS TU Je THO Sh Dolwesees
TOURS Ses) Sate Ree ee | ee nn aN Ca Oe ee ts a 180'|222-25
TABLE 14.—CHANGE OF TIME (MEASURE-LENGTHS)
Serial number of songs NO ast
Songs containing no change of | 1, 15, 17, 18, 19, 23, 26, 28, 30, 32, 33, 35, 36, 38, 45, 47, 51, 53, 33 26
time. 54, 55, 56, 65, 74, 83, 100, 103, 104, 111, 112, 114, 117, 120, 127.
Songs containing a change of | 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 20, 21, 22, 24, 25, 27, 97 74
time. 29, 31, 34, 37, 39, 40, 41, 42, 43, 44, 46, 48, 49, 50, 52, 57, 58,
59, 60, 61, 62, 63, 64, 66, 67, 68, 69, 70, 71, 72, 73, 75, 76, 77,
78, 79, 80, 81, 82, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95,
96, 97, 98, 99, 101, 102, 105, 106, 107, 108, 109, 110, 113, 115,
116, 118, 119, 121, 122, 123, 124, 125, 126, 128, 129, 130.
DENSMORDEP]
Songs containing—
2 rhythmic periods !
3 rhythmic periods----
4 rhythmic periods----
No rhythmic unit-...
1 rhythmic unit-_--_...
2 rhythmic units_.._.-
3 rhythmic units_.._.-
4 rhythmic units_.....
YUMAN AND YAQUI MUSIC 207
TABLE 17.—RHYTHMIO PERIOD OR UNIT
Serial number of songs cent
ortadA 1, 4, 5, 7, 8, 13, 14, 17, 21, 22, 23, 25, 26, 39, 42, 44, 45, 47, 51, 19
53, 56, 112, 117, 119.
eee 3, 6, 9, 10, 11, 12, 15, 18, 19, 20, 41, 46, 48, 49, 54..--.---.--- 11
ere UG GUUS AP) Se as eet Be eee ee oe MS aber 2
scone 2, 24, 37, 58, 59, 68, 70, 71, 76, 77, 80, 82, 89, 90, 92, 93, 95, 96, 17
104, 121, 123, 125.
eee 27, 28, 29, 30, 31, 32, 33, 40, 43, 57, 60, 61, 62, 66, 67, 68, 69, 87
72, 73, 74, 75, 78, 81, 83, 84, 85, 86, 87, 88, 91, 98, 99, 100, 101,
102, 103, 105, 107, 110, 111, 116, 118, 120, 122, 124, 126, 127,
128.
ascee 36, 38, 64, 65, 79, 94, 97, 106, 108, 109, 113, 116, 129, 180___.__- 10
wonawe Hip, UG seed Sao t SoS SoS HOSE GaSe SSE See ee 1
Sch OMe Fa Re RR Ss ee ee ee eae 1
i The following songs in this and the 2 following groups contain 1 rhythmic unit: 15, 18, 19, 21, 22, 39, 41,
42, 45, 46, 49, 51, 53, 54, 119. The following contain 2 rhythmic units: 17, 44, 47, 50, 56, 112, 117. The
following contains 3 rhythmic units: 52.
TABLE 18.—RHYTHM (METER) OF DRUM, RATTLE, AND NASAL ACCOMPANIMENT
Serial number of songs Nan: eet
Songs containing ‘continuous
rhythm in accompaniment—
Rivtami Noss =: Se 222-522 AG Gs10, 10) D1,'Sas 04, 40,015, 025,04, O65 at aatn son aoes eee 14 11
Rhythm No) 2222222 aay 9 ahh ae ae ee ee ee eee a eee 3 g
ubyihmuN0. G2s2sshessseees QT ZS2I HOO} Ol G0n CON Sip 04, VO seu wack coos sesehacsaso ass 10 7
imhytnm NoO}4-2 -. 22. 2--< OO RIOU 1 O21 04-106 LOS sees ae aes a es eee eee 6 6
HUN yonIMON Gy 0seeneeeneee nee TG TG ee oe ee ee wanensnoenessaacwessncosusesscs 3 2
Rhythm Nos 622c2--=.2--22- bE 0 ees ee ee Ae ee eee 2 1
Songs with accompaniment in | 12, 65, 70, 71, 75, 78, 79, 80, 81, 82..-_.....-_---------------- 10 7
quarter-note rhythm with
rests.
Songs with accompaniment in | 7, 8, 13, 14, 16, 17, 32, 38, 45, 50, 53, 55, 59, 60, 61, 62, 63, 64, 29 22
other rhythms,
| 66, 69, 72, 97, 100, 103, 105, 107, 109, 110, 111.
Recorded without accompani- | 1, 2, 3, 20, 21, 22, 23, 24, 25, 26, 39, 40, 41, 42, 43, 44, 46, 47, 48, 53 40
ment.
57, 58, 67, 68, 73, 76, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93,
94, 95, 96, 112, 113, 114, 117, 118, 120, 121, 122, 123, 126, 127,
128, 129, 130.
87183—382——15
208 BUREAU OF AMERICAN ETHNOLOGY [punn. 110
Rhythms in the accompaniment of
more than one song
an Aes RB
_
No. 1
~
'
d
vA
fo)
=
ge ea
a,
i
i 2 ee
fee
La
7 ies
~te
i,
Vex, es
Also quarter notes with rests corresponding to rests of voice.
AUTHORITIES CITED
Cuttin, Stewart. Games of the North American Indians. Twenty-fourth
Ann. Rept. Bur. Amer. Ethn., Washington, 1907.
DensMorn, FrRANcES. Chippewa Music. Bull. 45, Bur. Amer. Ethn., Wash-
ington, 1910.
Chippewa Music—II. Bull. 538, Bur. Amer. Ethn., Washington, 1913.
Teton Sioux Music. Bull. 61, Bur. Amer. Ethn., Washington, 1918.
Northern Ute Music. Bull. 75, Bur. Amer. Ethn., Washington, 1922.
Mandan and Hidatsa Music.- Bull. 80, Bur. Amer. Ethn., Washington,
1923.
Music of the Tule Indians of Panama. Smithsonian Inst., Misc. Colls.,
vol. 77, no. 11 (Publ. 2864), Washington, 1926.
Papago Music. Bull. 90, Bur. Amer. Ethn., Washington, 1929.
Pawnee Music. Bull. 98, Bur. Amer. Ethn., Washington, 1929.
Menominee Music. Bull. 102, Bur. Amer. Ethn., Washington, 1931.
DOCUMENTOS PARA LA HisTorRIA DE Mexico. Four series. 20 vols. Mexico,
1853-1857.
Fox Srraneways, A. H. Music of Hindostan. Oxford, 1914.
GIFForD, EK. W. The Kamia of Imperial Valley, Bull. 97, Bur. Amer. Ethn.,
Washington, 1931.
HANDBOOK OF AMERICAN INDIANS NorTH oF Mexico. Edited by F. W. Hodge,
Bur. Amer. Ethn., Bull. 30, pts. 1-2, Washington, 1907-1910.
HensHaw, H. W. [Article] Yuman Family. In Handbook of Amer. Inds.,
Bur. Amer. Ethn., Bull. 30, pt. 2, pp. 1011-1012, Washington, 1910.
Herzoa, GEorce. The Yuman Musical Style. Journ. Amer. Folk-Lore, vol. 41,
pp. 1838-231, New York, 1928.
HroiiéKa, ALES. Notes on the Indians of Sonora, Mexico. Amer. Anthrop.,
n. s. vol. vi, pp. 51-89, Lancaster, Pa., 1904.
Krorser, A. L. Handbook of the Indians of California. Bur. Amer. Ethn.,
Bull. 78, Washington, 1925.
Putnam, G. R. A Yuma Cremation. Amer, Anthrop., vol. vin, pp. 264-267.
Washington, 1895.
|
209
e ae EE
Bide inen PF
DI: Aors net
eines argo, =
INDEX
Page
ACCOMPANIMENTS to songs----- 20-21
AGRICULTURE of Yuman In-
Gian seeeee Stee eee hee 2,4
ALVAREZ, ANKA, & singer_----- XVIII
ANALYSIS—
descriptive, of songs_------ 36-40
rhythmic and melodic, of
HOUSES Sse eee ees 202-208
tabulated, of songs__------ 28-36
ARIWARES, JUAN, & singer__---- XVIII
ARROW WEED, bundles of, used
asvdrumesticks® 2-552. 2ee he 24
ARROWS, made at ceremony ---- 84
AyaLa, MANUEL, mention of-_-_- 27
BarLey, MixkE—
MSU Ger au. SS 5 SS NY Bese XVIII
songs recorded by_-------- 186
BASKET DRUMS—
deseribediperaasy salt 24
number of, used at dances-_-_ 24
Papago method of using--- 24
Yuman method of using--_- 20-21,
24, 130-131
BELIEFS concerning the dead_- 10,
41, 85, 101
BETTING on games___------ 195-196
BIRD DANCE—
Cocopa, songs of__------ 168-182
Cocopa, time of. --..----- 169
Mohave, songs of__-_--_-- 182-185
BLACKBIRD, songs concerning--. 141,
146, 147
Buriat customs. See CrEMA-
tion; KArox; Memoriau
\ CEREMONY; MouRNERS.
BuzzaRrD, song concerning----- 142
CanITA GROUP, home of_-_----- 15
Ca’/KORAMU’S DANCE of the
YATE yee eee 166-168
CEREMONIES—
Cremations se. Sook sce 41-47
Karok, or memorial_-_----- 73-85
See also DANCES.
CuieErs, cremation of_--------- 42
67183—32
CHILDREN— Page
COUCH TION Ole =e ae 8
Numa songs) foro es 2--— 198-199
CHIPPEWA MUSIC, peculiarity of_ 20
CHIPPEWA SONGS, tabulated
analysis! Ole see eae ae ee 28-36
CLAM, a singer=— =.= _ v, xviii, 85
CLEVELAND, LEONARD, a singer, XVII
CLOTHING—
burned at cremation cere-
INO MY 2 ts Se oes re 47
burned at memorial cere-
TAON Yt eee = eee 74
See also CostumsEs; Dress.
Cuivus, Yuma weapon, described- 10
Cocopa INDIANS—
Bird’ dance Ors --- sae 2— 168-182
cremation legend of__----- 85-98
cremation practiced among- 41
desceribedees2 snes ewe 6-7
facial painting of_-------- 9
group of, in U. S. National
IVMiISeUIME eee ee = 6
ha bitaboresss be os eee 1
Tcumanpaxwa dance of__ 185-192
CocoPA MATERIAL, where col-
16 CTC Get ere Ue eS ee Vv
Cocopa sonas—
number of, recorded__-_---- 16
TECOPGING,Ofs-2-=22456—-=—=< 85-86
Corn—
community ownership of -- 67
cultivationvora.— ees 7
Corn DANCE—
accompaniment for------- 21
' arrangement of songs in---- 17
Gescribedse ss] === aa 66-72
manner of dancing- ------- 66-67
MOVeMeN bess =e =a ——— 15
Object Of--2---—-==---=--— 66
songs Of. 2.------------=- 68-72
CostumMEs—
for the Corn dance-------- 66
of the Deer dance-------
See also CLoTHING; DREss8.
211
212 INDEX
Corton, cultivated by the Page | Deer pAnce—Continued. Page
cds (1 Ne IE Sabo Ob Ee aa 16 of the Mayo. 222 s2ase 165-166
CouRTING CUSTOMS-..-------- 9 use of drums ats- = =. see 24-25
Coyrorr— Yaqui, described_.--.--- 154-156
legends concerning_------- 100 Yuma, songs of <2) 2s 130-154
song ‘concerning... __--..-- 145 | Derry, dying, story of....--- 98-100
BUORVAMt eee on cool. 91-96 | Dreams—
CrEMATION— importance attached to_-_- 6
among the Cocopa----_---- 7 songs received in_.....-.-. 98
belief concerning ---------- 41 Yuman belief in.-_....-..- 10
customs connected with._--_ 41-48 | Drress—
incident connected with---- 48 of the dead 2S. ee 45
origin of, among Yuman of the Yuniase << 4se8ooe 4
[ii 4) ct NN OS 41, 48-66 See also CiotTuine; Cos-
TIAGO LON oo 2 ot ee 41 TUMES
practiced by Yuman tribes. 5,41 | Drum—
CREMATION CEREMONY— Wise) Of 2S 28 ee ee 20, 21
PORCINE Aces us ka es 41-47 See also BASKET DRUM.
GuTabion! Ghee ee ae 42 | Dunsar, U. S. J., figures mod-
CREMATION LEGENDS— eled’ by,+- 4. <eateonetogeenee 6
OOCODE 2 Sena eee cote s 85-98 | DwreLLiIncs—
Mohave og. 2 take a 98-100 of the Cocopan cts shace—a a
Wie ee ea 48-66 of the; ¥ wmtascce ees BES 4
CREMATION PYRE, construction EscaLanti, Grorce—
of __-------------- a Sia PF 45-46 flutes made by_----~-+232 26
Customs of Yuman tribes------ 8-15 records made by---------- 26
OE cer , , FACIAL PAINTING. -.-=22/20592..2 9
Ca koramu’s----------- 166-168 | Pasnmna, after a cremation___- 48
Cocopa Bird." 22. 2_ 2 = 168-182 | p, amr, BERNARD—
Cocopa Teumanpaxwa- - - 185-192 cremation ceremony of__.. 438-48
Corn, deseribed_..— c= 66-72 Bien kskans. Yes Bese Oe 44
Human Being, described_-- 72-73 | py yap —
Maturity, Yuma._..-_-- 193-194 .
described’. 242 Saucers 2 25-26
ENO Cen oes ee 165-166 ;
A MRUBI@\ OLS. .2.24 2S 25-27
Mokaye Bird.\ 5-2-2 - 182-185 :
: 3 songs concerning___.__---- 49-50
of Pleiades type, described_ 167 2 ae
: stories of origin of____---- 49
Waqut Deer. ss... 154-156 " j 158
Wimatbeer oe ee 130-131 LY, song COC --------
Witema-- Foon, customs concerning ----- 8
: Forr Yuma, establishment of 2
manner of, described - - - --- 15, ? ay
66-67, 73 | GAMBLING. See Berrina.
of Yuman tribes... --2--—- 15 Loe ee
ith D ipoe e 14 HE) ee
es Po Mtoe asian described Sek. 2 ee 194-197
story of origin of _.-------- 100 ee with'bal ~~ -3-e—— ‘| 96- ie
See also BURIAL CUSTOMS; ache: aaa comme gpa
Spinir OF THN DEAD. GARROTEROS, Spanish name for
Hour— the: Yumiat. Sees eee 3
songs concerning____------ 131, | Gizt, DeLancey, mention of-- 6
144, 159, 160, 165 | Gotpine, ALFRED—
supernatural power of _--_-~- 130 8, SIMger-2 o-oo sian eoee XVulI
DEER DANCE— songs recorded by--------- 131
Desemped...-- ea 130-131 | GrRUNTING, songs accompanied
movement iN—o.-.-2245--'5 15 DY ales Se i ae aa a ae es 20, 21
INDEX 213
GUADALUPE VILLAGE, ARIZ.— Page | Katcora—Continued. Page
Gescribedewexs osteo s 22 songs recorded by_-_---- 166, 186
population of.._..------- 22 | LANGUAGE, OBSOLETE, used in
songs recorded in_-.------ 22 words of songs. -_------- 10, 17, 86
HarrpREssINnG, of the Yuma-- 4 | Largo, Jor, frog song recorded
Hammon, PeTER— bYyi2-262052 2. Sec eeenel. a 14
C0) STILT el a a Vv, xvii | Legenps—
legend recorded by-------- 49 accompaniment for songs
songs recorded by--------- 52 Of... ae ee otis es 21
Harp, made by the Yaqui----- 27 Cocopa cremation ~--_-_-- 85-98
HEMORRHAGE, treatment for___ 103 connected with cremation. 48=66
HIpAtTsA SoNnGcs, tabulated analy- listofe 2550-854 0 as see 14
SIE) AE) oe 28-36 Mohave cremation_______ 98-100
HIEROGLYPHICS, Yuman__-___-- 9 of the journey of the deer- 130
Houtmes, W. H., Cocopa de- origins Y amas 272535552 48 4-5
geribed|, by --,..+---- 22s 6-7 relatingiot. 3050. Setas 13-14
Homer, JOoE— songs interpolated in____-- 13
@ singer... 2-2-2 V, XViII, 42 subject: of... se as 14
legend recorded by-------- 49 | Lightning, mythological cause
mentionlof =. - Sse see 43, 46 PY Te Lee ELIS UR EL ONS 112
speech made by---------- 44 | LiguTnina sonas, Yuma____- 111-129
story of dream of__------- 10 | Love sone of Tule Indians____ 199
Homer, Luke— Lucius, FATHER, mention of__- 22
anlinberpresen-—- ==" = Vv | Luna, Loretto—
translafogls ses 22 4He_4 43, 85 an-interpreter=..-. 2 220 Vv
“Hoop AND STICK’’— anontiOn Of. oo. cent ae 22, 23
a Yuma game------------ 194 | Manpan sonas, tabulated anal-
g@escnibers: hermes ve. tae 195 SACS eR IR ARES 28-36
Human BEING DANCE— M ;
: ARICOPA, enemies of the Yuma _ 3, 10
accompaniment to_____--- 21
d ‘bed 72-73 MARRIAGE CUSTOMS-_-_--_-_------ 9-10
MUN Se a MarTourity DANCE of the Yuma 193-194
HuUMMING BIRD— M
: f 64 AYO SONGS—
ao gar number of, recorded_-_-_--- 16
BONGO sel oe 65, 149 :
offered for recording_-_-_--- 16
Huntine—
manner of_-_-_ 10 MSAD AINE
Ber On OE briefly described__-_------- 16
songs concerning_-_____- 163-165
I Deer dance of. 5-2 165-166
MAGES OF THE DEAD— ; Pin dotnc 16
burning of nese, te he 74, 85 Ai heii eel ed aa ah aa
ET pega ey aie 7475 MEADOW LARK, song concern-
preparation of__...2----=-- 75 WAG ahaa s aeons na tstS Fe nant “
procession of | beravoht wit 82-83 | Mepicay TREATMENT, Yuman- 8,
ENFANTS, care, of2i2 02) 252225 8 100-111
INTERPRETERS, acknowledgment MEDICINE MAN—
tA SNA Reh iar ousia it Le Vv methods, of2s- - 2 4.5 22 102
KArox— power Of. 2. "22S tees 101, 111
a memorial ceremony ----- 17 | MemMoRIAL CEREMONY—
peculiarity of songs of ___-- 42 arrangement of songs in--- 17
reference to songs of___-__- 17, 18 described - ~-------------- 73-85
See also MEMORIAL CERE- shack) builtfors.i2_ su. S226 75
MONY. time of. .2242-seeee ee 75
Katcora— See also KARroxK.
CMEC) oe xvi | MENOMINEE sonas, tabulated
assistance of sex sacas Jou Vv analysinoh. ve) eliiw_ souk = 28-36
214 INDEX
MEXICAN INFLUENCE IN Yaqui Page | PasquaLE, FRANK— Page
BOHGS. 3-2 EN LU ee 199 honor accorded memory of-_ 42
MIGuBL, CHIEF, a singer------ 42 mention ‘of-.c 4.12 Seu Leen 42
Missions among the Yuma____ 3-4 | PAWNEE SONGS—
Mou#avE BrirpD DANCE, songs of. 182—185 reference Tosi: ui 2222528 20
Mouave InpIANs— tabulated analysis of____-- 28-36
characteristics of_..___--- 2 | PEon—
color of skin of.____------ 2 a Yuma.gameveleeecr iuug 194
cremation among--_-_------ 41 destribed_= Y=. SeLsesut sae 195
cremation legend of__---- 98-100 | PHONETICS____._.-.---------- XVIII
game of, described___-_-_--- 195 | PicrograpHs, Yuman-_---_---- 8-9
EL LaG Ob. oe eS 2 | Pima, expedition against, by the
narrative song cycles of___- 15 Wamat.. eo eeen eee 3
songs of, recorded__.-.---- 16 | PLEIADES, song concerning----- 179
MouaVE MATERIAL, place of col- Poor, BiLt1ie—
lection of2222--22. 2.22 Sie Vv & singer. .--~-.-~~------- xvi
Mouexme— songs recorded by_-_------- 98
fasting oft) =.=. Novels 4g | PopuLation—
wailing of .....-.-------- 47 se plampggser sates Ap eo Z
Mourning, terminated by Me- P ae village wae =
2 ROCESSION, of images of the
morial ceremony ------------ 73-74
deadi-. J eetem iawn ieee 82-83
Musica ape Property, personal, burned
described. 2-2-0. 8 24-27 with. the. dead...< -Teteveratal 41
of the Deer dance Ta 155 PUEBLO soNnas, resemblance of,
LISEGIn COUTMNE. 52 =~ 9 boc unis 45 SL 19
used to accompany songs-- 20-21 QUAIL, songs concerning___-- 157, 168
Yaqui------------------- 27 Ratnpow, LEE, cremation of._ 42-43
Yuman, use of _-_--_----- 24 | Rarwsow, NELSON—
See also Drum; FLUTE; a singer... 1. Adem ae
ES aire an interpreter__...------- v, 43
southern Californian, dis- Laer recorded esa pe
ranslator.... =.= 32 See 85
vejtls 25,8 aah ite ame Lal A ELE o0 | Brae
See also LEGENDS; SUPER- Sea Se 155
5 5a dewclaw, tradition of___--- 42
NAMES OF THE DEAD, tabooed__ 48, 76 dewelaw, use of____--___-- 21
NIGHTHAWE, songs of___-_--_- 152-154 gourd, use of_____------- 21
NuMAWASOAT, a singer__.__ xvit, 169 made of cocoons... 22048 25
Opts, L. L., superintendent of of the Chippewa__-------- 25
Yuma Reservation_________- 41 of the Cocopa___--------- 25
ORIGIN LEGENDS of the Yuma... 4-5 of the Mohave..________-- 25
Orur, a Yuma game______-- 194, 195 spice-box, described_____-- 25
OwL, song concerning--_-_----- 150 spice-box, use of________-- 21, 73
PaBLO COLORADO, CHIEF, men- used to accompany songs-_- 20, 21
Merof === = = 2-- 22-2. ee 7 varieties Of 222 = 22a eee 21
Paint, for pottery, mixing of_- 9 | Raven, song concerning_-_-_---- 143
PatMER, Epwarp L.— REDBIRD, songs concerning_--_-- 147,
ornament collected by-_--_-- 156 148, 151
quoted on Mohave game-.- 43 | Rests 1n songs, discussed____- 19
Papaco INnpDIANS— Rrsas, Pernz DE, Yaqui de-
color of skin of £2222. 222.2 2 scribed By. 2222. <2 se oeeee 15-16
relations of, with the Yuma 10 | Scatps—
PapaGo sonas, tabulated analy- belief concerning_-______-- 13
STs Sy) ASE CE Sy Ras ED 28-36 ceremony of “‘feasting’’-_- 12
INDEX
ScaLtes—Continued.
ceremony of taking___-_-_-_- 11-12
preparation of, for keeping- 12
SHIELD, occurrence of, in the
WESt. .- 3.22455 eas 84
SHINNY, game resembling_-___- 43, 194
Sicx—
songs for treating_______ 104-110
treatment of_____-_-- 8, 100-104
SINGERS, names of________-_- Vv, XVIII
Sioux son@s, tabulated analy-
BRISTOL. See. Nae eelipgtivn 28-36
SociaAL DANCE, accompaniment
TRO ae a ae es ea 21
SomMERTON, ARIZ., songs re-
corded near... Sac esee 85
Sonas—
accompaniments to__-___-_ 20-21
accompanying games____ 196-197
concerning the blackbird_-_ 141
concerning the flute_____- 49-50
concerning the ,humming
bird. saree 65
concerning the spider____-_ 140
concerning the wild cat___-_ 64
Cyclesiol= = 2 = =e Basis age 13
Deer dance, of Yaqui_-_. 156-165
descriptive analysis of._._ 36-40
difficulties in transcribing _-_ 17
for children, Yuma____-_- 198-199
IMAPLOVISEd ee 17
interpolated in legends_-_-__ 13
Karok, peculiarity of___-__- 18, 42
manner of learning_______-_ i 6
melodie and rhythmic anal-
NIB OE esi) fo oe eh le. 202-208
occasions for singing- - ~~ -- 16
of Corn dance_.-...-..--- 68-72
of Mayo Deer dance_-_-_-_-_- 166
of Memorial ceremony____ 77-83
of Mohave deity________-_ 99
of the lightning___.____- 111-129
of the Superman___-_.___- 87-98
of the war party__-.---_--_ 11
of the Wonder-boy____-___- 51-63
of Yuma Deer dance___-_ 130-154
Orderly ee ol = 22 15
regarded as property----_-- 168
relating to the water bug. 132-137
tabulated analysis of___-_-- 28-36
used in treating the sick_-- 98,
104-110
with animal characteristics_ 17
Soun. See Sprrir.
215
SPEECHES, at cremation cere- Page
MON lee oe SS. vb Soe 44
SPIDER, song concerning______- 140
SPIRIT OF THE DEAD, beliefs con-
COMMING Sebo tA, 10, 41, 101
STAMPING, songs accompanied
DYa ooo See eat cress 21
Story of Coyote and the
heart. 2.5. agzecer hoe 91-96, 100
SUPERMAN—
a Cocopa: goda4..4 5.555255 86
BONES Of- ~ Shoppe ee 87-98
TaBoo—
concerning the dead_______ 5-6
fort Warriors. 42-2752-%.. 545 12
TATTOOING, facial, for girls_____ 9
TCUMANPAXWA DANCE of the
Cocepa soe oe ce see aE 185-192
TEHANNA, FRANK—
assistance rendered by---_-_- v, 169
characterization of ________ 7-8
THUNDER AND LIGHTNING, myth-
ological cause of__...-_--- 111-112
TRANSCRIPTION OF soNnas, dif-
Heulties Of U2. 2ss5<44e ee Ne
Toute Inp1ans, love song of_____ 199
TULE sonas, characteristic of __ We
TUNAK DANCE. See MATuRITY
DANCE.
Umapa, José Maris, a singer-_ XVIII
Urs Inprans, reference to songs
(7) es beer Ceecee ies ER LWA
UTE soncs—
TeLerencestOsea eee ee eae 20
tabulated analysis of.____- 28-36
VICTORY DANCE, performance of_ 12-13
WAGERS on games__________ 195-196
WAILING, custom of_.....__.-- 44, 45
WAR CUSTOMS. 22222 eS 10-13
WAR PARTY—
departunevol-. ese eee see 10-11
SONGS Ole ea ee eee 11
Warriors, disguise of__.______ 11
WATER BUG, songs relating to. 132-137
Weapon of the Yuma________- 10
Wuite CLoup—
a mythological being------ 111
storms controlled by------ it
WILD caT—
PTT Lee ee 63
SOND PIOL ee. 2 a ee 64
Witson, Bitup—
BpsIN GED 32s asa eee 42
MENON) Olesssse see eee 46
216 INDEX
WItson, CHARLES— Page | YAQuiI sonas—Continued Page
& singet 2a kk Vv, XVIII number of, recorded __-_-_--_- 16
cures effected by__-...__-- 102 tabulated analysis of______ 28-36
mention of 22 22S Ae es 49 | Yuma, Ariz., situation of______ 2
songs belonging to_______-_ 42 | Yuma InpIANS—
songs recorded by___-_---- 18 beliefs .of 22UsUU sae. sie. 41
supernatural power of---_- 101 Cakoramus dance of____ 166-168
treatment by, of the sick_ 102-104 characteristics of__..__---_ 4
Witson, Mrs. Coartes— derivation of the name_-___ 3
ASSN PORN ee eee aS XVIII habitat.of-c 22 6) eae oe 1
songs recorded by___------ 193 names for esses _ Awe 3
WONDER-BOY, songs of_______- 51-63 DopulahionswOle = 222 2a 4
Wounps,gunshot,treatmentfor. 103 | YuMA MATERIAL, where col-
Yaqui INDIANS— RECUEO == oo not syst eee ee Vv
dance of, described __-_--- 154-156 | YumMAN sonas—
derivation of the name_-_-_ 15 CISCUSSION Of = 4-4 sees 17-21
government of_______----- 22 In. Cy Cles= S255 6s ee 16-17
miscellaneous songs of___ 199-201 number of, recorded______- 16
musical instruments of-_ —__ 27 of the Deer dance_____-- 130-154
territory occupied by__---- 15 tabulated analysis of_____- 28-36
villagerofa: 2.) tule 22 | YUMAN TRIBES—
YAQUI MUSIC— cremation practiced among-_ 41
Mexican influence on__-_-__- 23 CUStOMS Oba eso 55 ae eee 8-15
native, accompaniment for_ 23 describedaaues Si1_ Serres 2
where studied____-_____-_- Vv discussion! of22 3ue Saha 1-8
YAQuI SONGS— environment of__....--- -- if
Giscussion! Of 22 2 eee 22
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